Your Best Favourite Shot
Posted 03 August 2006 - 07:43 AM
By the way, does anyone have any ideas how the last shot Antonioni's Passenger was made (the long one)?
Nice to see that other people also like Melville's Le Samourai which is one of my favourite films all time. Le Cercle rouge (The Red Circle) is also great and I think it has everything that a french crime movies should have.
Posted 03 August 2006 - 10:11 AM
thahk you for reminding me of john alcotts awesome candle lit work on that film! ( i simply love that tracking shot during the battle march!0
i'm also perpetually entranced by dante spinotti's work in heat-especially the shot in which niro chats up brenne[font=Courier New][size=7]man on the terrace -overlooking la's city lights, with goldenthal's touch and go trance taking care of the rest! any one on the same trip ?
Posted 03 August 2006 - 08:40 PM
Anyone for a bestshot.com site using steadishots.org as a model with comments from the sender.
It could be the ultimate source for designing a shot any style, as long as the comments
clarifies on the motivations of camera moves, lighting and actors performance, sound, cutting
and other aspects of film making.
love that idea, alex, count me in and let's start with the pacing of larry mcconkey's awesome, jaw dropping, four minute steadicam shot in ballhaus's goodfellas!
ok,as a self-teaching , (rather late starting), fly-by-the-seat-of-your-pants, lighting-cameraman who makes a living by also writing & directing his
commercials/corporates, this idea is like dear ol' connie coming up in my dreams and blessing me by giving me his own meter !
Posted 16 May 2010 - 12:58 PM
There's an over the shoulder lock down in "The Never Ending Story" where the kid is talking to the two Sphinxes. The composition and lighting with a starfield background, to me, is very magical.
Many years ago when I saw CONFORMIST , one hand held camerawork never fade away from my heart , or in SHELTERING SKY when John Malkovich is dead and Debra Winger came out alone , camera follow him in a reflection of the sun in the water . This shot is very magic . Do you have any shot in your mind which you think is the best .......thank
There's a shot of two planes in "The High Road to China" whizzing by the camera as they fly over a waterfall late in Act II as the characters fly to Nepal/China.
Another airplane shot is the famous one in Spielberg's "Empire of the Sun" where the boy imagines an American P-51 Mustang pilot waving to him with his canopy open. The thing that gets me about that shot is that it's the actual pilot smiling and waving as he flies by (perilously close I'll add). No matte work whatsoever.
Another film, "Dragonslayer" is full of great shots. Some good long shots, and some solid composite work with the dragon. Whoever shot that really captured Ireland's natural beauty and worked it into the film.
Posted 02 June 2010 - 10:30 PM
Posted 07 June 2010 - 11:06 PM
There are so many in other films too.
Posted 08 June 2010 - 01:21 AM
Also, in There Will be Blood, (Robert Elswit, ASC) in the beginning when they reel up the anchor and find it covered in oil.
And pretty much any shot in Bladerunner, (Jordan Cronenweth, ASC), Lawerence of Arabia, (or any other movie shot by F. A. Young, BSC). I really could go on for at least another ten and a half years or so.
Posted 17 June 2010 - 09:10 AM
My favorites are probably the rain scene from "Road to Perdition", train robbery from "The Assignation of Jesse James by coward Robert Ford" (+ every shot in the entire film), "Amelie" (several shots), chicken scene in "City of God" and, of course, handheld camerawork of "Soy Cuba" (I am Cuba). And many gorgeous shots from Ron Fricke's non-narrative "Baraka".
I also pretty much agree with most shots that has been mentioned here, as of the fantastic composed imagery of "Lawrence of Arabia" and "Barry Lyndon"...2001, Blade Runner (amazing visuals), There Will Be Blood etc.
Edited by Ziryab Ben Brahem, 17 June 2010 - 09:11 AM.
Posted 22 September 2010 - 05:47 PM
A plain mesmerizing shot.
Posted 17 November 2010 - 01:30 AM
I also loved the final shot of Magnolia, where it stays on the girl's face while John C. Riley says how much he likes her. The extremely slow dolly-in and eventual 4th wall-breaking look into the camera just gives me shivers every time I watch it. So powerful.
The single tracking shot in There Will be Blood where it enters the church with a dolly-in and eventually leaves with a dolly-back while Paul Dano gives his powerful, creepy sermon was fantastic as well.
Another absolute favorite is in In the Mood for Love. It's during one of the recurring montages of the two main characters interacting with one another. They're both sitting in front of this big armoir that has multiple mirrors on it. The camera trucks several times from left to right, right to left and back again showing their expressions in the reflections of the mirror, ending with Tony Leung slowly lifting his head to gaze longingly at Maggie Cheung. It's subtle, powerful, relevent, and absolutely gorgeous to look at. The same can be said about the entire film.
Edited by Austin Serr, 17 November 2010 - 01:32 AM.