Tim Partridge

Filmmaker

[Tim Partridge @Tim_Partridge_]

My latest video: A deep, deep dive into the now 40 year old Jim Henson directed & David Bowie starring classic, Labyrinth (1986)!! It delves into everything about the film & it's making. New stuff uncovered. Please subscribe/share/like so all can see it! https://t.co/nehB3Axdlw

[Ignacio Aguilar AEC @iaguilardop]

THE READER was photographed by two different cinematographers, using two different 500T film stocks.

And yet the transition is almost impossible to see.

Roger Deakins and Chris Menges arrive at the same visual language: cold postwar light, warm interiors, soft sources, deep shadows and remarkable restraint.

Two authors. One film.

[Daniel D. Moses 🎥 דניאל @danieldmoses]

Calling all you Bowie and Henson fans this one's for you - @Tim_Partridge_ has done another extra deep dive video essay, this time into the “Labyrinth”👇

https://t.co/UBt6UWdPha

[Cytonius OMNI FRAME @cytonius]

My buddy @Tim_Partridge_ is one of the most under rated YouTubers. His retrospectives on film are some of the best I've ever seen...and I've seen alot. Pls give him a follow and sub on YouTube

[Tim Partridge @Tim_Partridge_]

@ThePCCLondon Is your 7th December screening of The Devils in 35mm? @moneyintolight

[Oliver Harper @OllieH82]

My good mate @Tim_Partridge_ is back with another cracking deep dive! https://t.co/iOvwtqZRLF

[Tim Partridge @Tim_Partridge_]

@MovieKessler But was it as good as it's new wave rock hangover cover from 1991?
https://t.co/dKvbVIhTxf

[Oliver Harper @OllieH82]

NEW VIDEO - my latest retrospective on Poltergeist II is now live on YouTube!

https://t.co/NFjC2vkWX9

[Tim Partridge @Tim_Partridge_]

@CutSchumacher @Skydance @AkivaGoldsman Bat-Dance?

[SpyHards - A Spy Movie Podcast @SpyHards]

NEW INTERVIEW 🎧

This week we welcome director Jon Amiel to the show to reveal top secret intel about the making of THE MAN WHO KNEW TOO LITTLE!

He also shares stories about working on ENTRAPMENT, SOMMERSBY, and much more!

🎧 https://t.co/Pu31el4TXg
📺 https://t.co/QoiFloJPbi

[Tim Partridge @Tim_Partridge_]

I didn't actually realise that Stacy Keach also voiced Phantasm. Alongside Shirley Walker's music, it's magic, and makes sense (no spoilers for anyone who still hasn't seen it).

[Spirit Formation Journey Anniversary @reneisrlycursed]

Pouring one out for the GOAT Stacy Keach. Him as The Phantasm in Batman: Mask of the Phantasm will always be iconic. THAT VOICE>>>>>>

[Tim Partridge @Tim_Partridge_]

RIP Stacy Keach

[Tim Partridge @Tim_Partridge_]

@JBondPersuader

[Ignacio Aguilar AEC @iaguilardop]

Today, 500 ASA is considered a normal film speed. Some high end digital cameras reach 3200. And some cameras reach an outstanding 12800.

Two of the greatest achievements in naturalistic cinematography were made with 100 ASA film.

BARRY LYNDON. DAYS OF HEAVEN.

More than two stops slower than current film stocks. Much less sensitive than today's digital cameras.

The limitation didn’t stop Alcott and Almendros from using less artificial light.

It changed how they photographed.

[Tim Partridge @Tim_Partridge_]

@AdamRackoff I’d include David Foster with Ross and Hirsch in this. It would be tremendously hard to mess up this opening montage with the Night Ranger song. It’s basically film score with a vocal, composed for the film.

[Tim Partridge @Tim_Partridge_]

@Was_Tuesday A deep, deep-dive into the movie
https://t.co/sa9VlhekBd

[Tim Partridge @Tim_Partridge_]

@danieldmoses I love this film, but I don’t miss the tech!

[Tim Partridge @Tim_Partridge_]

@danieldmoses @greatironchris A really great watch for what we lived through.

I don’t miss the tech at all though!

[Tim Partridge @Tim_Partridge_]

How to perform, write and direct a sitcom and comedy in general:

[The Venerable Jeff of Bingen @petrolemulsion]

Patrick Stewart as gay opera director Alistair Burke in one of my favourite scenes in Frasier. Rest in Peace

[Ignacio Aguilar AEC @iaguilardop]

David Watkin detestaba el formato anamórfico. Algunos de sus trabajos más extraordinarios están rodados con él.

En LOS DEMONIOS, su enorme luz rebotada, la difusión y la sobreexposición se encuentran con las composiciones panorámicas y excesivas de Ken Russell.

Dos sensibilidades casi opuestas que se potencian mutuamente.