The cinematographer

Give Maxwell his cue. The cinematographer of Diamonds Are Forever was Ted Moore. Moore shot seven of the first nine James Bond films. His association with Cubby Broccoli began when he photographed the Warwick film A Prize of Gold. Moore shot several other Warwick pictures before beginning work on Dr. No. Tom Mankiewicz recalls working with Ted Moore. He had shot Man for All Seasons with Fred Zinnemann. He's a wonderful cameraman. He did several.

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I think Globe Photos sent somebody at one point. So it was a combination. Most camera crews involve having a stills person as well as the director of photography and the operator and camera assistants. It's part of the union requirement that you have a stills photographer. For pinks. Pink slips? You mean for cars?

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to the movie. And, you know, now that we're in the darkness, you know, I found some interesting things from cinematographer, Owen Roisman. Now I got to know Roisman, not personally, but his work when I saw the French connection, which is also, this would be a great movie to run with Pelham as well. The Owen Roisman gritty street double feature. And, but Owen Roisman,

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Interestingly enough, he serviced his directors as accurately as any cinematographer has ever done and with apparent, complete, literal understanding of the text. Pictures like Fahrenheit or Far From the Man in Crowd or pictures that are seen through Nick's eye and yet are films made by very strong directors. Rogue.

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There were so many rats and the question how to control them was always problematic. How to position them correctly. This is Anja Schmidt-Zäringer who worked on production. Walter Saxer, who had grand battles with Kinski. Ann Poppel, costumes. Michael Edols, an Australian director who came to visit. Gisela Storch, who worked on the costumes. Martin Gerbl, gaffer. And here, Isabelle. Do you want to drink with us? I actually like showing the people who were so important for the film. This is almost the whole team. Only the cinematographer and the sound technicians are missing. Other than that, that's pretty much it. Again, a still life. - Yes. Even though this time it is in motion. The definitive ironic interpretation of a still life. Well, I don't get irony. I have no sense for it. In that regard, I'm horribly... But you do have a sense of humor because... Yes, but that is different. I understand jokes and laugh about them, but irony takes everything of one level and relates it to something that is not directly connected. My perspective is too direct, almost verbatim. Florian Fricke called me one day. Without changing his voice, he said he was the minister of the interior. Unfortunately, there was a mistake at the ministry and I should not celebrate because I did not win the German Film Award after all. I said, "What is wrong in your ministry?" "You are responsible for the borders." "The document was signed by three different people." After a lengthy discussion he started laughing out loud. That was the moment when I finally realized that was Florian Fricke, a man who, at that time, I talked to daily. I'm terrible. This is Martje, my wife back then. She took a beta blocker to look completely lifeless. ...and without superstition.

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constant ups and downs of the horror film. It's here to stay on a recurrent basis. Now, Don, do you miss being the, in films that you make nowadays, do you miss not being your own DP and not being your own editor? I know that in your last film you didn't, you don't take an editing credit and you didn't obviously operate the camera.

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for all this, and there were people kind of standing at bay in that neighborhood. I believe like an older couple had this house. Not having any idea what was gonna happen in this house, they let us use it, right? Yeah, and as I recall, it had like metallic flower wallpaper before we did it over. And the sun, as you can see, is going in and out and in and out with, you know, the DP and the script woman going insane.

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Frank Morriss

A lot of the shots we actually used were test shots... ...that turned out to be very useful. As we were trying to figure out: How do you photograph something at night... ...and it doesn't look like it's got huge spotlights all over it? It was a very tricky, technical challenge because the film... ...at the time, was not nearly as fast as the Kodak film that we have now. So John Alonzo, the cinematographer, was stretching it to its limits.

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Um, yes, Heather Langenkamp. I play Nancy Thompson. I'm John Saxon. I play her father, Lieutenant Thompson. I think it was lieutenant or captain. Lieutenant. You sure? All right, enough time, enough time. I'm Wes Craven, writer-director. I'm Jacques Haidtken, the director of photography.

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Kenneth Loring

And the interplay of light and shadow, the play betwixt them here, as you see only in movies photographed with distinction. This is the cinematographer's art. Cold light and then warm light. We don't usually mix them, not to this extent, but I don't think we want to quibble, do we? We seem to have settled, I think, here on darkness.

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And it's only a truncated version, I think, although this may be longer than it originally was. I'm not sure. I must say, looking at the film, this is the DP's best work he ever did. Yeah, or Dick Bush's work. Dick Bush, yes. I mean, it really is. I've forgotten how good it was. It's absolutely impeccable. And it's really an interesting contrast, seeing these shots of Grady at home and the naturalism of it. Yeah, yeah.

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because The American Friend was such a perfect film. I think we were shocked he even responded, Alex. I think that was what we were shocked at. And in fact, you know what that was? Because I had actually said to you, Michael, that I was thinking of using another guy. I won't say who it was, but he was like a New York-based cameraman. And we looked at a little bit of something he'd shot, and you said, I don't know about this guy. Why don't you think if you could have anybody that you want, who would you like to have be the DP? And that was when I thought of Robbie Muller. That's a nice shot there, too. That's just beautiful.

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Everybody had very specific bits here. I was the lucky recipient of all that and kind of the coordinator, although I did write Lamar's rap, and I want my children to know that. This was the last shot of the night, and I'm so glad that King Bag at the DP forced me to shoot it because I was getting tired and cranky, and I think I was saying, we don't need it, but I love that shot.

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That was very pleasant. I like shooting in France, in the studios, because the French don't start till midday. And they don't have tea breaks. They just shoot from 12 till 7.30. And then you can go out to dinner. And you don't have to get up at six or five in the morning. And so Louis Gilbert, when we were working in Paris, would say, we'd be called, he'd say, I give Claude, director of photography,

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Lea Thompson

Is that the refinery back there? Yeah, that's the refinery. And this set is the value of someone like Jan Kiesser, the DP, because we didn't know where to shoot it, and he just created and kind of manufactured this setting. I remember he spotted the car there and we dressed the back with the hubcaps and kind of created it instantaneously that day because we were stuck. We had lost... We didn't lose the location, but we changed the schedule, and we had to shoot this scene, and... Anyway, not that important. But again, I'm remembering stuff as I'm seeing it, and... The light's beautiful.

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That shot right there is what I thought we were shooting when I sat down in that chaise lounge. And I sat down awkwardly because I thought I was sitting into the shots and that we were not going to see below my waist. And I think Harvey just forgot to tell me that it wasn't Harvey Jenkins, who was our wonderful cinematographer, forgot to tell me that it was not a master shot. But there have been some very inappropriate memes, kind of disrespectful to the 15-year-old version of myself.

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Hi, everybody. My name is Joe Lynch. I am a filmmaker. And I would not be here today if it were not for this film that you are watching right here. And it wasn't for this man and the other men that are in the room with me right now. Welcome to the remake of The Blob. And with me to my right is cinematographer Mark Irwin. Say hi, Mark.

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Stephen Prince

They interceded with Warner Brothers on Kurosawa's behalf. Warner agreed to distribute the film worldwide, and on that basis, Kurosawa Productions was able to get funding for the movie. So Kurosawa was back in the director's chair with his son Hisao as co-producer and with familiar collaborators like cinematographer Takao Saito and art director Yoshiro Muraki.

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Fred Dekker

And it was interesting in that some of the scenes earlier with some of the homeless people and the rebels reminded me when I was watching it again of some very similar scenes in They Live. And of course, the DP you have on this movie, Gary Kibbe, had been Carpenter's DP. That's right. That's right.

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a wonderful shorthand to watch between the two of them sometimes in terms of how they find the honesty of the scene and exactly where they want to have the camera to tell the story at that moment. And it's a real collaboration between the two of them. You choose a cinematographer by looking at his work and looking at his artistry and how he's able to light and how he's able to compose

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In the picture. Oh, that's right. You've got to stop hiding behind me. It's true. She did. She would do that. She would hide behind you. She would find the only... And Gail, the cinematographer, would say, you can't find the only dark spot in the room. You actually want to be lit and on screen. I told her. I said, you won't be in the movie if you can't see the camera, okay? So if you can't see the camera, then move to where you can see it.

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So that this is the character that came out of this, which I think is a much better character. The sort of stock, angry police captain was really the most embarrassing part of the script. I quit. This won't be an interrogation. Just a friendly chat to kill some time. He will not go into the interrogation. Then someplace else? Where? No, no, no, no, no, no. If this was a dope deal, where's the dope? I was very happy that Tom Siegel, the cinematographer,

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So, gentlemen, what made us write this movie? I asked you to. Right, okay. That was part of it, wasn't it? Oh, there's David Bacon, great director of photography, also one of the many Davids on the production team. We are executive producers. Oh, yes, you were starting to say it was an idea. That's the guy, Martin Walters, that's the guy who wouldn't give us money, right? Yeah, we were already... Do we need that joke? On every joke. Do we need that joke? John Slann, yes. John Slann. We bankrupted. Oh, look at that. Look at that.

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They haven't talked yet about the lighting style of the film, and particularly your choice of Peter Bao as a director of photography, and how this relates to some of the world. Seeing like Lizzie go totally artistic, the oil painting, what have you, Bermuda, Hammershaw,

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