Juan Carlos Moya

Premio de Novela La Linares, 2022. Premio de Literatura A. Rojas, 2019. Premio Nacional de Periodismo, 2002. Becario de la Fundación Gabo, Buenos Aires, 2001.

[Juan Carlos Moya @islasazules]

#NuevaFotoDePerfil

[Sergio Andreola @sergioandreola]

Francis Bacon
Seated Figure, 1978.

[The New Yorker @NewYorker]

An early look at next week’s cover, “Pure Gold,” by Nicole Rifkin. https://t.co/n3hFTJ0wBZ

[Juan Carlos Moya @islasazules]

@ceciliaansaldo Comparto la fascinación, soy cautivo de la pluma de Dumas padre.

[Juan Carlos Moya @islasazules]

Mike Nichols 🙌 ❤️

[Lugar Cinema🎬 @LugarCinema]

El Graduado (1975) tiene uno de los mejores finales que yo haya visto.

La banda sonora, Dustin Hoffman y Katharine Ross mirándose… y ese silencio que dice absolutamente todo.

Una auténtica OBRA MAESTRA

[Timeless Films @axaxia92]

To shoot this scene, he fasted for a day and was hungry. Every time I watch it, I feel hungry.

[Juan Carlos Moya @islasazules]

@FundacionGabo Saludos al gran @martin_caparros Compartimos clases de Crónica con Ryszard Kapuściński en Argentina. En un restaurante de La Boca hablamos de hacer un libro... No sé si lo recuerde. Yo tenía 25 años. Admiro mucho su pluma y pensamiento. Un gran abrazo desde Ecuador. ✍️

[Juan Carlos Moya @islasazules]

@ceciliaansaldo Respeto, amor. Gracias, querida Cecilia, por esta columna tan sensible y empática.

[MP10 @MusicPills10]

Such a beautiful homage from Rod Stewart to Bonnie Tyler.
RIP, Legend. 🤍🕊

[Aelith Loves Art𖣂 @aelith4ever]

The Daryal Gorge - Ivan Aivazovsky, 1862

[Juan Carlos Moya @islasazules]

@ceciliaansaldo Qué buen gusto querida Cecilia. Qué bello atardecer. Buena lectura, buen viaje.

[Lugar Cinema���� @LugarCinema]

Se cumplen 20 años del estreno de El Diablo Viste De Prada (2006)

Una crítica muy acertada a todo lo que hay detrás del mundo de la moda.

Y con Meryl Streep, Anne Hathaway, Emily Blunt y Stanley Tucci en el reparto, es un acierto seguro.

[Juan Carlos Moya @islasazules]

@jorgecarrion21 @AnagramaEditor Una delicia, los colores del paraíso.

[Juan Carlos Moya @islasazules]

✨️

[John Watches Horror @Y2John84]

Blade Runner released 44 years ago today.

25 June 1982 🕊

[Juan Carlos Moya @islasazules]

Dennis Lehane, gran escritor. Admiro su técnica narrativa 🙌 ✍️

[Lugar Cinema🎬 @LugarCinema]

Clint Eastwood leyó la novela de Dennis Lehane en una sola noche y es que fue tal el impactó que le género que en ese mismo momento supo que quería hacer Mystic River (2003)

El resultado no pudo ser mejor, una de sus grandes OBRAS MAESTRAS.

[Cecilia Ansaldo @ceciliaansaldo]

Qué gran invento es la laptop; yo, como Proust (salvando las enormes distancias) he aprendido a escribir en la cama.

[Juan Carlos Moya @islasazules]

@ceciliaansaldo Felices escrituras querida Cecilia. También se suman a este 'confort': Robert L. Stevenson o 'el niño genio', Truman Capote.

[Juan Carlos Moya @islasazules]

@ceciliaansaldo Tan triste como ella, El Pozo, Cuando Ya no importe, La casa en la arena, El astillero. Onetti, el lobo estepario uruguayo. Maestro querido, no toleró más el mundo exterior y se echó en la cama, indiferente, pesimista, eremita, a leer novelas de Raymond Chandler. Grande Onetti!

[Juan Carlos Moya @islasazules]

🦧❤️

[Elena @elenacute01]

A Baby Orangutan Tried to Help a Fallen Toddler, Then the Adult Orangutan Stepped In and Lifted Him Back to the Crowd.

[Juan Carlos Moya @islasazules]

Estas publicaciones son una maravilla por su significativa información. Amo la mirada y pulso narrativo de Michael Mann. Gracias @GangsterCinema, un Oscar para ti ✨️🍷

[Gangster Cinema Central @GangsterCinema]

In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography

Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles.

That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness.

Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution.

He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible.

First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky.

Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity.

He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.”

They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image.

The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.