VF Perkins “taught us not to ignore our emotional responses to film but to interrogate them.”
Ryan Gilbey on the author of @FilmAsFilm + a founding editor of MOVIE @guardianfilm — https://t.co/DcHYuYErh6
See, too, the @filmstudiesff roundup on Perkins: https://t.co/p5k4GUi0F4
Your shrine honors me. My heart is filled with love and garbage.Tomorrow, as you may know, is my name day. Do something that makes you feel good. Above all be kind to each other. Pick up trash, recycle, and be aware of plastics in the ocean. https://t.co/UER6uZY886
Set during a stark winter towards the end of WWII, Larisa Shepitko's THE ASCENT ('78) won the Golden Bear at the 1977 Berlin Film Festival and is often considered the finest Soviet film of the 1970s.
#WomenOfFilmStruck#DirectedByWomen
It bears repeating: despite superstition, selection of camera brand is not a significant leverage point in professional authorship of a photographic look. It's an operational decision, not a creative one. Like a novelist selecting word processing software. https://t.co/btXDo7RJP9
This project has been very dear to me. I'm so pleased to have been invited again by my friend @rianjohnson to be the keeper of his camera. A higher quality (but slower loading) version of the video is available here: https://t.co/IgwHpnc4Hl
Really diving into the work of Gordon Willis recently. An absolute legend who's images have the ability to tell a story unlike anyone else. A lot to be learned by studying his work. These are frames from ALL THE PRESIDENT'S MEN (1976)
"It probably was one of the most amazing things I've ever done" – ASC Vice President @CineBill remembers filming #NASA's last space shuttle launch under extreme conditions in this interview from ARRI's #TheFilmmakersView series: https://t.co/CvjT483Gr7