Welcome to our community

Be a part of something great, join today!

Register Log in
  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

The single greatest SHOT ever...?

:)

:innocent:
 
right :) :)
 
I love a ton of shots from Jet Li's Hero. The color palette and lighting were just amazing. I don't have a DVD player on the computer to take grabs from the actual scenes.

HERO.slidefour.jpg


2002968630804178104_rs.jpg


HERO.slideone.jpg


photo_06_hires.jpg
 
why here guys?.. a shot is not only photography or cinematography whatever.. as well said before.. if you do not believe me take a look on that example posted.. page before:

Emanuel said:


It's not under the 10 seconds mark, just one of my favorite ones. And one of the most important shots (also sequence) ever made. Jack Nicholson (man in the bed) is only a part of it. Actually, he doesn't move so much (or even at all, almost from the beginning till the end of the shot).

It's not (still) photography, it is as simple as a motion picture -- you need to watch the movie. Yes, under the director's POV too. A genius called Michelangelo Antonioni.

The Passenger

http://www.imdb.com/title/tt0073580/
Click to expand...
 
you are a smart guy tom.. you should watch more euro stuff.. old ones are a must.
 
From Lawrence of

From Lawrence of

Barry Lyndon is beautifully shot... but I think my very favorite it the first scene of Omar Shariff in Lawrence of Arabia... extreme telephoto of him (dressed in black) on his camel appearing out of nowhere in the desert and coming to the lens....
 
A Clockwork Oranges cinematography is different, but I think it contains some of my favorite shots. The opening one is pretty powerful. I can't think of an opening shot that sets a more complete environment or mood for a film.

korova.jpg
 
Just to change the diet a little, here.... The closing shots of Kenji Mizoguchi's "A Geisha" are, I think, among the most beautiful in cinema, in the dramatic context in which they occur. Unfortunately, this film doesn't seem to be available on anything but VHS, and the transfer wasn't from a great print. Even so, you can see and feel the force of these moments, this is what cinema is all about (or should be?).

Forgive me for saying so, but it wouldn't hurt to look further afield. Cinema didn't begin in 1970, and not all of it is in English.... :biggrin:
 
filmmaker's gang said:
you are a smart guy tom.. you should watch more euro stuff.. old ones are a must.
Click to expand...

Yeah. I've been trying to. I've seen (and really loved) nearly all of Bresson's films. Truffaut I really like. Fassbinder, I hated.

I've also been trying to see more Asian films. HHH, WKW, of course Kurosawa. Sometimes I will find a DP I really admire, like Mark Lee Ping Bin or Doyle, and then follow that thread, and watch all of the films they shot.

I think I was doing better back when I had a netflix account. Lately I've been slacking off on Euro and Asian films.

Any title suggestions, from anyone, would be greatly appreciated.
icon14.gif
 
italians do it best..
 
In the Mood for Love is my favorite asian example. Italians... pay attention to Antonioni (1st of the list), De Sica, Fellini, Visconti, Rossellini (father of all modern cinema including the 'Nouvelle Vague' filmmakers), Scola (Una Giornata Particolare, one of my favorites). Scandinavian too, such as Lars von Trier (my fav: Europa aka Zentropa -- a masterpiece !!!) and surely Carl Dreyer and Bergman. And a turkish called Nuri Bilge Ceylan [ LINK ] IKLIMLER / Climates (shot with a F900) is well... take a look!
 
Khristian said:
3568_1205759509.jpg



i love the composition in this shot , its like a Renaissance painting
Click to expand...

I thought the one that looked most like a renn painting is the one later on with Leonidas outstretched and dead (camera pulls back reveal).
 
If you want pre-1970, how about we go back to the silent era? Back when it was all about the image, instead of the staged screenplays we're so often presented with today.

Here's a simple one: the closing shot of City Lights. Charlie Chaplin's face. He was a millionaire and now he's a street tramp. He's spent all his money paying for the surgery to have a blind flower girl's vision restored. He's in love with her but of course she has no idea. Now they have a chance meeting and when they touch she realizes who he is and it all suddenly becomes clear to her. It all plays out in her eyes and then ends simply with his bashfully smiling face.

Or we could talk about Garbo's face in half a dozen films...

Sometimes it's about context and choices, not the swooping crane shot or the shaft of light from the Xenon.
 
Emanuel said:


It's not under the 10 seconds mark, just one of my favorite ones. And one of the most important shots (also sequence) ever made. Jack Nicholson (man in the bed) is only a part of it. Actually, he doesn't move so much (or even at all, almost from the beginning till the end of the shot).

It's not (still) photography, it is as simple as a motion picture -- you need to watch the movie. Yes, under the director's POV too. A genius called Michelangelo Antonioni.

The Passenger

http://www.imdb.com/title/tt0073580/
Click to expand...
This shot is really the typical film school quote.
 
You must log in or register to reply here.
Back
Top