THE LAST BLACK MAN IN SAN FRANCISCO, the 2019 debut feature from writer/director Joe Talbot, is poetry on page and in celluloid, a collision of haunting beauty emanating from within the film’s characters as well as from the ephemeral environment – a place so casually familiar in our consciousness that what DP Adam Newport-Barra doesContinue reading “Flawless Frames: THE LAST BLACK MAN IN SAN FRANCISCO”
Category Archives: Flawless Frames
Flawless Frames: WALKABOUT
British director Nicolas Roeg didn’t direct a single film until he’d been in the industry a quarter-century, the first wave of his career being in cinematography. Roeg was a photographer turned DP who earned his chops as a 2nd unit cinematographer on the greatest film ever shot – LAWRENCE OF ARABIA – and himself shotContinue reading “Flawless Frames: WALKABOUT”
Flawless Frames: NIGHTCRAWLER
Cinematographer Robert Elswit won the Oscar in his field for Paul Thomas Anderson’s 2007 film THERE WILL BE BLOOD. Seven years later, with acclaimed writer Dan Gilroy’s directorial debut NIGHTCRAWLER, the DP created a visual aesthetic that in many ways can be considered a dark reflection of the former film. In both, the landscapes –Continue reading “Flawless Frames: NIGHTCRAWLER”
Flawless Frames: THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD
I’m starting this column with my favorite frame from my favorite cinematographer: Roger Deakins. This frame, from Andrew Dominik’s 2007 film, is emblematic of Deakin’s aesthetic – simple, elegant, resonant, and more powerful than any bit of dialogue, no matter how brilliant, could ever hope to be – and the very definition of “flawless.” DeakinsContinue reading “Flawless Frames: THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD”
the flawless frame 