“Andrei Tarkovsky speaks the truth when it comes to art, cinema and our relationship with both. We are definitely struggling.” —lediwan
Screenshot from this video of a discussion with Tarkovsky.
(Source: lediwan, via tarkovskymalick)
Ivanovo detstvo/Ivan’s Childhood (1962, Andrei Tarkovsky)
The complexly choreographed sequence involving Masha’s encounter with Kholin in the birch forest is one of the most iconic shots in cinema, symbolizing the need for help in hard times, a moment of connection above the void, a desperate act of human contact. The camera tracks their movements at a distance before joining them, finally, in a strange, low-angle embrace over a small trench. The shot begins from a low point of view, and then, when Masha tries to jump over the ditch and is intercepted by Kholin, who holds her in the air and kisses her, the camera goes down below ground level and records the scene from within the ditch, to soon thereafter rise sharply up and continue rolling at eye level with the characters. (1, 2)
(via tarkovskymalick)
cinematographer eigil bryld on designing a uniform look for ‘house of cards’ with director david fincher:
fincher’s ground rules included “no steadicam, no handheld and no zoom lenses.” […] “to a great extent, moves are on the dolly or the boom. we wanted to use the space more so people would grow larger in the frame or move away and get smaller. we went for a more composed look; even though we had very shallow focus, we tried to create deep compositions all the time to add a sense of drama and power, and the 2:1 aspect ratio really helped with that.”
the entire show was shot on arri/zeiss master primes, mostly the 27mm and 35mm. ”we used longer lenses at times for close-ups, but we never wanted the sense of space to disappear,” says bryld.”
zoe barnes gets three sizes of coverage in the scene above, each inching higher and closer to the eyeline.
also, the A and B cameras are usually kept very close, often stacked one on top of the other. ”we typically had one camera doing a low-angle wide over and the other doing a tight over,” says bryld. continuity is key. ”if you have perfect continuity, i think it almost creates a hypnotic universe, like you’re almost experiencing something in real time. in fincher’s world, you have to respect space and time, and two cameras help with that.”
(via tarkovskymalick)
this is so good
(via tarkovskymalick)
”
I wonder if things can happen too early or too late or if everything happens at exactly the right time. If so, how sad and beautiful.
Simon Van Booy, The Secret Lives of People in Love (via dreamsilver)
(Source: simply-quotes, via capucha)
(Source: rathernature)
(Source: shadowshine, via scriptspiration)
(Source: 500daysoftomhansen, via scriptspiration)
animal kingdom.
animal kingdom.
wait. wait.
Xmas stockings.
art.
