I hope it's going to be Hoyte. His work on Interstellar was amazing and I think his style fits very good with the war genre.
Dunkirk's Cinematography
I'm glad some shots from Her were finally posted. Her is what sold me on Hoyte and I LOVED what he did with Interstellar.
There are several other excellent choices, but it should be clear to us that Nolan likes working with people on multiple projects and he seemed happy with Hoyte on Interstellar so I see no reason he would bother finding someone else unless Hoyte was unavailable. And knowing he would likely work with Nolan again, I doubt he would sign on for anything that would prevent that. Aside from his visual style, Hoyte's a great operator and has already been trained in IMAX. Not sure Nolan wants to go through that a third time yet.
Robert Richardson would also be a good choice. He's clearly capable of working in large formats now.
There are several other excellent choices, but it should be clear to us that Nolan likes working with people on multiple projects and he seemed happy with Hoyte on Interstellar so I see no reason he would bother finding someone else unless Hoyte was unavailable. And knowing he would likely work with Nolan again, I doubt he would sign on for anything that would prevent that. Aside from his visual style, Hoyte's a great operator and has already been trained in IMAX. Not sure Nolan wants to go through that a third time yet.
Robert Richardson would also be a good choice. He's clearly capable of working in large formats now.
Those two shots aren't just among my favorites from Nolan's work, but maybe my favorites in all of modern film. Not just the framing, but the camera motion, the color. Fucking fantastic.Law wrote:I don't get this sudden mindset that Hoyte is better than Pfister. He was with Nolan for almost all of his films and made them all stunning to look at.atilasantos wrote:Wally Pfister, obviously.
Guy does wondrous work with Nolan.
Every time I watch Inception I rewind and watch that guy pulling the shotgun out at least twice.
Well, Hoyte isn't even teaming up again with Tomas Alfredson on The Snowman, Dion Beebe is the DOP.
His schedule is completely free
His schedule is completely free
Well, fuck. I was getting my hopes up for Lubezki. Just announce whoever, already.Now Where Was I ? wrote:Well, Hoyte isn't even teaming up again with Tomas Alfredson on The Snowman, Dion Beebe is the DOP.
His schedule is completely free
The entire time I was watching The Revenant I was thinking, "Please for the love of f@!*, work with Nolan some day." Not that Hoyte hasn't done great stuff with Nolan, and I get that a lot of The Revenant's visual work is in the landscapes themselves, but the cinematography is still breathtaking. I'd be fine with seeing Hoyte again... I just hope the reasons for choosing him are more than, "Well, he can operate the IMAX camera handheld."MyCocaine wrote:Well, fuck. I was getting my hopes up for Lubezki. Just announce whoever, already.Now Where Was I ? wrote:Well, Hoyte isn't even teaming up again with Tomas Alfredson on The Snowman, Dion Beebe is the DOP.
His schedule is completely free
They will never work toguether. Nolan fights to keep film alive, while Lubezki is at the cutting edge of digital cinema technology.Hustler wrote:The entire time I was watching The Revenant I was thinking, "Please for the love of f@!*, work with Nolan some day." Not that Hoyte hasn't done great stuff with Nolan, and I get that a lot of The Revenant's visual work is in the landscapes themselves, but the cinematography is still breathtaking. I'd be fine with seeing Hoyte again... I just hope the reasons for choosing him are more than, "Well, he can operate the IMAX camera handheld."MyCocaine wrote:Well, fuck. I was getting my hopes up for Lubezki. Just announce whoever, already.Now Where Was I ? wrote:Well, Hoyte isn't even teaming up again with Tomas Alfredson on The Snowman, Dion Beebe is the DOP.
His schedule is completely free
Lubezki isn't oppose to shoot on film. No sir. Just like Deakins he goes back and fourth between film and digital. The Revenant was suppose to be shot on 65mm but due to the harsh environments and logistical challenges they picked the Arri Alexa 65 instead. Your false claims has been debunked.Oneironaut wrote:They will never work toguether. Nolan fights to keep film alive, while Lubezki is at the cutting edge of digital cinema technology.
I was also excited to read this little bit of trivia for Hail, Caesar!, the Coen brothers' next movie:
The first film that cinematographer Roger Deakins has shot for directors Joel Coen and Ethan Coen, and on 35mm film, since True Grit (2010). He had previously become an advocate of shooting digitally, and used Arri Alexa cameras on his next five films, but switched back to film for this because the Coens dislike digital cameras and thought that shooting on film suited a period piece set in 1950's Hollywood.
If the Coens can convince a cinematographer so insistent on digital to switch formats, Nolan could use his magical sorcery as well. Not that I ever think he'll work with Deakins either, just some food for thought.
The first film that cinematographer Roger Deakins has shot for directors Joel Coen and Ethan Coen, and on 35mm film, since True Grit (2010). He had previously become an advocate of shooting digitally, and used Arri Alexa cameras on his next five films, but switched back to film for this because the Coens dislike digital cameras and thought that shooting on film suited a period piece set in 1950's Hollywood.
If the Coens can convince a cinematographer so insistent on digital to switch formats, Nolan could use his magical sorcery as well. Not that I ever think he'll work with Deakins either, just some food for thought.
