Where the Wild Things Are (2009)
Dir: Spike Jonze / DP: Lance Acord
Shots.net has an interview with Where The Wild Things Are DP Lance Acord. To be honest, this is actually kind of a shitty interview, focusing on a lot of aspects of the film that have nothing to do with the cinematography. It feels more like a People magazine fluff piece promoting the film. Way to drop the ball, shots.net.
One particular influence was Werner Herzog’s film Grizzly Man, which played out the relationship between man and beast as well as giving Acord a few ideas about more technical aspects such as lensing.
Where the Wild Things Are (2009)
Dir: Spike Jonze / DP: Lance Acord
Where the Wild Things Are (2009)
Dir: Spike Jonze / DP: Lance Acord
Where the Wild Things Are (2009)
Dir: Spike Jonze / DP: Lance Acord
Inglourious Basterds (2009)
Dir: Quentin Tarantino / DP: Robert Richardson
Personal comment: This was my favorite sequence of the film. The shots are all impeccable, precise, just like the planning that has gone into Shosanna’s scheme. I also love the symmetry and use of reflections (the movie poster reflected in the window is a Bridget Von Hammersmark film).
Lots of great technical info and information related to the thought process of how each chapter would be shot, including the original intent of shooting all of the 2nd chapter, the “french new wave” part of the film, in black and white, and why that plan failed. Also is this, on QT’s desire to avoid touching the film digitally:
“Quentin’s intention was to do a strictly chemical film,” explains Richardson. “No digital intermediate. This approach was crucial to his perspective on the filmmaking process, little to no reliance upon new technology. Four-perf, dailies, edit on flatbed, cut negative, IP/IN, release prints. In camera was his preference and order, from photography and processing to final print, as well as to how the various departments, whether visual effects (helmed by John Dykstra) or special effects were required to view their work.
“Even the final explosion in the theatre was to be real. No CG images at all. The various scalping or gun wounds were all to be done in camera. That’s the charm and one reason for the success of style that Quentin employed with this film.”
