Being a visual medium as film is, the images on the screen are among the, if not the, premiere component that can make or break a film. As technology has grown and advanced over time, just about anyone can point an HD camera at something and call it a film, but it takes a special cinematographer to achieve true greatness. More than anything, our best cinematographers category is a celebration of that greatness, and a celebration of imagistic glory that can only be experienced on the big screen. It's an unrivaled feeling to become engrossed and entangled in a giant moving picture to the point where it's unclear where the movie theater ends and the movie itself begins.
"We're using the shadows and you're feeling the reflections of the house. She's not alone but alone in her soul. And, of course, then she's running through the house and going out the front door and there's a big storm out there. There's no moonlight but, again, steel blue atmospheric light."
"We did a lot physically, and the film warranted that. That's part of the responsibility we have doing movies like this with a long history and a huge existing fan base. Maintaining the franchise's integrity was really the mandate from J.J."
"That was a big part of the boldness of George in recording a film and then putting it together. It would make his films far more enjoyable and easy to watch by actually shooting it in that way. It's always been a part of my work philosophy to try and record a film in such a way that you make it as smooth as possible for the audience to view it, because I feel if you can do that you're going to suck the audience out of their seat and go through that virtual window of reality you're creating and put them in the situation. And you've got to hold them there, you know?"
"And I think brilliantly so because when I watched the film, the colors scream on 70mm. They scream at you. The red in particular looks like we could have shot this film Kodachrome. I would almost say it was a Kodachrome movie except for there’s absolutely no grain anywhere. It’s really beautiful. It would be lovely if we could achieve more of this, more 70mm shooting, if people could afford it and if the cameras would be more available and not just for visual effects shooting but for entire pictures. That would be fantastic."
"I think the wide lenses allow you to make the movie very immersive and that was one of our main ideas: to engage the audience in a very immersive way. The movie wanted to be visceral, so it allows us to get very close to the actors but still see the environment surrounding them. They are always connected to the environment."