Pictured (L-R) Claude Girard, Producer Edward McDonnell, Canadian cultural journalist Tanya Lapointe, Canadian director Denis Villeneuve  (with Sicario movie in competition this year), French Actress Irène Jacob, Polish writer & director Agnieszka Holland, DoP Roger Deakins with his wife James, Thales Angénieux President Pierre Andurand.

 During the 68th annual Cannes Film Festival, Angénieux paid tribute to Roger Deakins BSC, ASC on May 22nd, 2015 at the third edition of the Pierre Angénieux Excellens in Cinematography ceremony. This award spotlights the work of Directors of Photography with past honorees including Philippe Rousselot AFC, ASC in 2013 and Vilmos Zsigmond HSC, ASC in 2014.

At the ceremony, a prestigious delegation composed of directors, producers, actors and actresses involved in Roger Deakins' career came to express their respect and appreciation. Guests included directors Joel and Ethan Coen (Deakins photographed eleven of their movies), director Agnieszka Holland (Deakins worked on The Secret Garden), director Denis Villeneuve (Deakins was involved in Prisoners, Sicario, which was in Competition this year at Cannes and the upcoming Blade Runner project), actresses Frances Mc Dormand and Irène Jacob and actor Jake Gyllenhall. Thierry Frémaux, Délégué Général of the Festival, Mike Eyle, a governor on the Board of the BSC and Richard Andry, Vice President of the AFC, also expressed their admiration to Roger Deakins and his contribution to cinema.

 Thales Angénieux President, Pierre Andurand, presented Roger Deakins 
 with an Optimo 45-120mm zoom lens specially engraved with his name. 
Following the ceremony, a dinner was held at La Plage du CNC, 
where singer Melissa Laveaux performed a 
private concert for a hundred of Angenieux’s guests.

Angenieux's Pierre Angenieux Excellens in Cinematography Award: 
an Angénieux Optimo 45-120 zoom lens specially engraved to Roger Deakins

 Roger Deakins receives the Pierre Angénieux Excellens Lifetime Achievement Award
 for Cinematography at 2015 at Cannes Film Festival. 
Pictured (L-R) Agnieszka Holland, James Deakins, Roger Deakins,
Ethan Cohen and Frances Mc Dormand

 Roger Deakins, known for several collaborations with the Coen Brothers, has worked with many directors including Tim Robbins, Martin Scorcese, Sam Mendes, Denis Villeneuve and Angelina Jolie. He has been a part of an incredible number of movies that are today monuments of cinema such as Barton Fink, The Shawshank Redemption, Fargo, Kundun, The Big Lebowski, O Brother, Where Art Thou?, The Man Who Wasn't There, The Assassination of Jesse James, No Country for Old Men, The Reader, True Grit, Skyfall and Prisoners.

Actress Irene Jacob, James Deakins, DP Roger Deakins, Director Denis Villeneuve 
and Tanya Lapointe attend the Premiere of "Sicario" during 
the 68th annual Cannes Film Festival

Along with the tribute presented to Roger Deakins, Angénieux was also particularly present at this Cannes Festival through a wide number of movies shot with Angénieux lenses. Below is a list of movies screened at Cannes and shot with Angénieux lenses:

Out-of-Competition and special Screenings
La Tête Haute by Emmanuelle Bercot -DP Guillaume Schiffman AFC
Mad Max: Fury Road by Georges Miller -DP John Seale
Une Histoire de Fou by Robert Guédiguian - DP Pierre Milon AFC

Official Selection / In Competition
Dheepan de Jacques Audiard – DP Eponine Momenceau – Palme d’Or
Mon Roi by Maïwenn - DP Claire Mathon AFC
Youth by Paolo Sorrentino - DP Luca Bigazzi

For more information about the Pierre Angénieux Excellens Lifetime Achievement Award for Cinematography and lenses visit


The 68th Festival de Cannes Awards




Official Selection 2015

    CAROL    Directed by Todd HAYNES  
    CHRONIC    Directed by Michel FRANCO  
    DHEEPAN    Directed by Jacques AUDIARD   PALM d'or
    LA LOI DU MARCHÉ (THE MEASURE OF A MAN)    Directed by Stéphane BRIZÉ  
    LOUDER THAN BOMBS    Directed by Joachim TRIER  
    MACBETH    Directed by Justin KURZEL  
    MARGUERITE & JULIEN    Directed by Valérie DONZELLI  
    MIA MADRE (MY MOTHER)    Directed by Nanni MORETTI  
    MON ROI    Directed by MAÏWENN  
    SAUL FIA (SON OF SAUL)    Directed by László NEMES   GRAND PRIX 
    SHAN HE GU REN (MOUNTAINS MAY DEPART)    Directed by JIA Zhang-Ke  
    SICARIO    Directed by Denis VILLENEUVE  
    THE SEA OF TREES    Directed by Gus VAN SANT  
    VALLEY OF LOVE    Directed by Guillaume NICLOUX  
    YOUTH    Directed by Paolo SORRENTINO  

Un Certain Regard
    AN    Directed by Naomi KAWASE  
    CHAUTHI KOOT (THE FOURTH DIRECTION)    Directed by Gurvinder SINGH  
    COMOARA (THE TREASURE)    Directed by Corneliu PORUMBOIU 
    Uncertain Talent Prize 
    HRÚTAR (RAMS)    Directed by Grímur HAKONARSON  Grand Prix
    JE SUIS UN SOLDAT (I AM A SOLDIER)    Directed by Laurent LARIVIÈRE  
     Directed by KUROSAWA Kiyoshi  Best Director
    LAMB    Directed by Yared ZELEKE  
    LAS ELEGIDAS (THE CHOSEN ONES)    Directed by David PABLOS  
    MADONNA    Directed by SHIN Su-Won  
    MARYLAND (DISORDER)    Directed by Alice WINOCOUR  
    MASAAN    Directed by Neeraj GHAYWAN  
    MU-ROE-HAN (THE SHAMELESS)    Directed by OH Seung-Uk  
    NAHID    Directed by Ida PANAHANDEH  
     Directed by Apichatpong WEERASETHAKUL  
    TAKLUB    Directed by Brillante MENDOZA  
    THE OTHER SIDE    Directed by Roberto MINERVINI  
    ZVIZDAN (THE HIGH SUN)    Directed by Dalibor MATANIC   Jury Prize

Short films in Competition
    AVE MARIA    Directed by Basil KHALIL   
    COPAIN (BUDDY)    Directed by Jan ROOSENS, Raf ROOSENS   
    LOVE IS BLIND    Directed by Dan HODGSON   
    PATRIOT    Directed by Eva RILEY   
    SALI (TUESDAY)    Directed by Ziya DEMIREL   
    THE GUESTS    Directed by Shane DANIELSEN   
    WAVES '98    Directed by Ely DAGHER



Palme d'or

Grand Prix
SAUL FIA (Son of Saul) by László NEMES

Best Director Award
HOU Hsiao-Hsien for NIE YINNIANG (The Assassin)

Jury Prize

Best Actress Award
Rooney MARA in CAROL by Todd HAYNES

Best Actor Award

Vincent LINDON in LA LOI DU MARCHÉ (The Measure of a Man) by Stéphane BRIZÉ

Best Screenplay Award



Palme d'or

LA TIERRA Y LA SOMBRA by César Augusto ACEVEDO presented during La Semaine de la Critique

The Jury of the CST has awarded the VULCAN AWARD OF THE TECHNICAL ARTIST to:
Tamas ZANYI, sound engineer, for the outstanding contribution of sound to the narration of SAUL FIA (Son of Saul) by László NEMES.

The director and French artist, Agnès VARDA, received an honorary Palme d'or for her collected works from Jane Birkin. The closing film La Glace et le Ciel (Ice and the Sky) by Luc Jacquet was screened at the end of the Ceremony.


This is a webcast from  Cannes Film Festival with  renowned cinematographer Peter Suschitzky ASC. The webcast  provides a unique opportunity to hear the master cinematographer talk about his distinguished creative journey and his experience this year as he joins the judging panel of La Semaine de la Critique at Festival De Cannes. 

Peter Suschitzky has been shooting films since 1964, notably alongside David Cronenberg. His impressive filmography includes Star Wars Episode V: The Empire Strikes Back, Mars Attacks!, Naked Lunch, Crash, After Earth shot on the F65 and, most recently, Maps to the Stars shot on the F55

By producing  this worldwide webcast interview,  Sony UK continues its commitment to the movie industry.


 Dialogue with ASC Cinematographers at J.L. Fisher, SOC, ICG,& ASC 
9th Annual Open House & BBQ

The SOC Moving Camera Seminar at J.L Fisher, SOC, ICG & ASC 
9th Annual Open House & BBQ

Michael Goi, ASC  and George Spiro Dibie, ASC

Robert  Primes, ASC answering questions from the attending audience at the seminar
 Dialogue with American Society of Cinematographers Members (ASC)

 Dr. Thomas Lee & Michael Frediani, the Society of Camera Operators booth. 
The big raffle prize raising funds in behalf of The Children Hospital Los Angeles 
was a Blackmagic URSA PL camera

The SOC Moving Camera Seminar at J.L Fisher, SOC, ICG & ASC 
9th Annual Open House & BBQ 

Headcase Cinema Quality VR 360 by Radiant Images

 Mole Richardson daylight fixtures (5600 K), Mole 250W Softlite LED,  
500W Softlite LED, 900W LED Spacelite 4 on stand (illuminating face)

A true work horse, Arri 435 on a Fisher 10. (nope , they are not dead yet). 
A  J. L Fisher  Quattro Pedestal in the background and curved dolly tracks

The ubiquitous drone. FAA approved Pictorvision’s PV-ML1 medium-lift unmanned aircraft, 
which carries a GH4 camera package

Award  winning Cooke  Primes Lenses  Si 27mm T2,  Si 40mm T2 ,  
5i 65mm T1.4 from ZGC

Movi M 15 with a Ready Rig Cinepro from Radiant Images
stabilizing an ARRI 435

A Sony 65 with 18-85mm Fujinon on a Oconnor fluid head,
JL Fisher riser, Fisher 10 dolly on curved tracks

Car mounts on suction cups

The J.L. Fisher, SOC, ICG,& ASC Open House & BBQ is a great way to spend time socializing with colleagues, friends and vendors while checking out all latest products and services the fast changing motion picture industry has to offer.


Just announced by Canon, the XC10 brings 4K to a compact, versatile system that incorporates a built-in 10x f/2.8-5.6 zoom lens, flip-out 3.0" LCD touchscreen, and a 90-degree rotatable handgrip. Its 1"-type CMOS sensor delivers 8-bit 422 video up to Ultra HD at 24 and 30 fps to CFast 2.0 memory cards. In addition to 4K video, the camera can also capture 12-megapixel photos independently, or extract still images while recording or playing back video. Other notable features include Cinema EOS picture profiles — including the Wide DR and Canon Log — built-in Wi-Fi, and a 4K HDMI 2.0 output. 

The Litepanels Caliber 3-Light Kit is the portable, out-of-the-box lighting solution that today’s professional videographers have been waiting for. Ideal for webcasting, blogging and professional content creators, the compact Caliber 3-Light Kit enables easy travel and fast setup.

The latest addition to Litepanels’ award-winning line of LED Fresnels, the Caliber is a true Fresnel fixture with wide focus range that can be powered via AC or with AA batteries. Each fixture offers focusable output comparable to a 150W tungsten yet requires only 17W to power it. The fixture’s compact size and high intensity output make it a valuable production tool in the field. Weighing in at less than 13 pounds, each kit contains (3) Caliber fixtures, (3) AC Adapters with international plug sets, (3) multi-jointed flexible tripods, and a compact stand with stand adapter, offering additional placement options. Everything comes packaged in a fully customizable soft case, with plenty of additional storage space for batteries, camera lenses and other items.

The Sidefinder is a fully featured HD viewfinder with a flip-out 1080p display. It’s the brilliant, natural union between the SmallHD 500 Series Monitor and a cleverly designed, patent-pending, EVF loupe. The Sidefinder gives shooters all the benefits of using a field monitor AND an EVF, without compromising speed, agility, or quality of the image. The Sidefinder represents the highest resolution EVF and the highest resolution 5-inch on-camera monitor in one device.

 DJI has just announced the latest update to their Phantom line, which looks set to be a direct replacement of the Phantom 2 — the Phantom 3  Quadcopter . Initially two versions will be available, the Advanced Edition identified by silver stripes on the prop arms, and the Professional Edition likewise distinguished by gold stripes. The most notable feature of these new quadcopters — at least as far as the aerial market is concerned — is the incorporation of a purpose-built, 3-axis gimbal stabilized camera system similar to the one currently found on the Phantom 2 Vision+. Differentiating the Advanced and Professional models is the video resolution of the camera. The Advanced tops out at 1080p, while the Professional bumps recording capability up to 4K. On the photos side, both cameras are equally blessed, able to capture 12MP stills in either JPG or DNG RAW format.

Canon has announced the latest addition to its Cinema EOS family — the C300 Mark II. The camera features several major upgrades over its predecessor; most notably, the ability to record 10/12-bit 4K video at either DCI 4K or Ultra HD resolution internally to CFast 2.0 cards. Additional updates include 4K Raw output over 3G-SDI, a 4K-cappable HDMI 2.0 output, and a new OLED electronic viewfinder. The camera is available with either a Canon EF or PL lens mount, with the EF mount version able to take advantage of Canon's Dual Pixel CMOS AF Technology with compatible lenses.

 The Academy and Partners launch ACES at NAB Show!

The Academy Color Encoding System (ACES) is becoming the industry standard for managing color throughout the life cycle of a motion picture or television production. From image capture through editing, VFX, mastering, public presentation, archiving and future remastering, ACES insures a consistent color experience that preserves the filmmaker’s creative vision. In addition to the creative benefits, ACES addresses and solves a number of significant production, post-production and archiving problems that have arisen with the increasing variety of digital cameras and formats in use, as well as the surge in the number of productions that rely on worldwide collaboration using shared digital image files.

ACES is a free, open, device-independent color management and image interchange system that can be applied to almost any current or future workflow. It was developed by hundreds of the industry’s top scientists, engineers and end users, working together under the auspices of the Academy of Motion Picture Arts and Sciences.

ACES 1.0 is the first production-ready release of the system, the result of over 10 years of research, testing and field trials. It includes support for a wide variety of digital and film-based production workflows, visual effects, animation and archiving.

Fiilex Proudly Announces the K303 and All-Weather K304 Three Light Fresnel Kits

A bold take on one of our most popular kits, the standard K303 and All-Weather K304 give you even more power out of the same compact case by offering three color tunable P360(EX)s and three brilliant P2Q Converters. The P2Q Converter attaches to the P360(EX) and uses a 5-Inch Fresnel Lens to intensify the center lux an incredible 8x, focusing the beam angle from 65º to 14º and delivering a hard light and clean shadow. The K303 and K304 offer the perfect balance between power and portability.

Movcam is dedicated to perfecting image stabilization, providing high quality products at an affordable price compared to the leading competition. Movcam's leading stabilization system has a new line designed specifically to work with popular gimbal systems: DJI Ronin* and MoVI**. The stabilization system is available in 2 models: 44 lbs (20 kg) and 55 lbs (25 kg).
Mount Ready: Comes with 2 2" diameter speed rail tubes, 2 stabilization arms rated to either 20kg or 25kg, depending on model. Mounts to industry standard 2" pipe clamps.
G-Mount: The G-Mount is required for use with the DJI Ronin*. Movcam also created a separate dovetail adaptor for use with MoVI**. Mounting the MoVI** gimbal requires both the G-Mount and the dovetail adaptor

 Alexa Mini is a 35 format film-style digital camera with lightweight and compact carbon body, 4:3/16:9 switchable active sensor area, support for ARRI MVF-1 viewfinder, built-in remote control capabilities via ARRI Electronic Control System and Wi-Fi, support for cforce motors, built-in motorized ND filters, interchangeable lens mounts and ARRI Lens Data System

Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously -- a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker.


The Universal Hand-Held Support Rig Offers Flexibility Needed 
for Accessorized Digital Cinematography

 OConnor, a Vitec Group brand and premier provider of fluid heads, tripods and camera accessories for film and television production, will unveil its new O-Rig 15mm Rod Support System at NAB 2015. The versatile, hand-held support rig is perfectly suited to the a la carte configurations of today’s accessorized digital cinematography. The O-Rig is designed to work with any camera/lens combination in 15mm LWS (Light Weight Support) configuration, including the latest offerings from Sony, Canon, Nikon, ARRI, AJA, JVC, Panasonic, Vision Research and RED. OConnor will showcase the newest addition to its award-winning lineup of camera supports and accessories at their NAB exhibit (Booth #C6025) in Las Vegas, April 13-16.

OConnor’s O-Rig is camera and lens agnostic, providing cinematographers maximum flexibility. Its new, proprietary universal baseplate enables quick and easy camera and lens changes. A height adaptor offers cover for all camera bodies, providing rotation of wide-angle filters, and increasing the lens coverage of OConnor’s O-Focus follow focus unit. Uniquely crafted to deliver superior ergonomic performance, the O-Rig also allows users to effortlessly move from shoulder mount to tripod and back again.

“Whether our users need to bolt an increasing amount of equipment to their camera or they’re looking to maximize their rig for as many configurations as possible, the O-Rig can support them,” said Steven Turner, Product Manager for OConnor. “All of OConnor’s products are engineered to meet the demands of today’s challenging camera work, and now, more than ever, flexibility is key. We believe cinematographers, operators, and rental facilities will be pleased to have such a robust and durable solution from a trusted brand.”

The O-Rig system is housed in a robust Storm Case, fitted with custom-cut, high-density foam. Each kit includes: an award-winning O-Grips handgrip system; an infinitely adjustable offset adaptor, which allows users to easily reposition camera viewfinders and provides comfort adjustments for shoulder pads; and a shoulder pad with hand-stitched leather construction and aluminum detailing, giving versatile positioning of rods through pad for optimizing counterweight, camera balancing, and body ergonomics. Individual elements within the O-Rig kit will also be available, and are compatible with other 15mm LWS accessories.

While the new O-Rig system delivers robust quality and ease of use, it was also designed with an eye towards the future. “The O-Rig is the definition of future proofing,” added Turner. “As camera technology continues to evolve rapidly, cinematographers and operators cannot be locked in. They need adaptable solutions that allow them to change and grow, and the O-Rig delivers that versatility without comprising performance.”

The O-Rig 15mm Rod Support System will be available worldwide in May. Customized shoulder rig packages, designed to support specific cameras, can be assembled upon request.

For more information, visit OConnor at      


 By George Leon

Cobra Gypsies offers a contemporary and colorful window to the amazing ancient culture of the nomadic Kalbeliya tribes, living in rural Rajasthan, Northern India. The film explores their culture of eternal dance, syncopated music, snake charming, colorful fashion and the nomadic way of life of these exotic looking castoffs, ancestors to the modern Roma Gypsies living in Europe today.

 COBRA GYPSIES - full documentary

Cobra Gypsies seems like an amazing accidental ethnographic film and it is reminiscent of the aesthetics utilized by Nouvelle Vague visual anthropology filmmaker, Jean Rouch on documentaries like "Me a Black (Moi, un Noir)" but in a more transparent factual way.

Although, Kailbelyas posed for the camera like for a fashion editorial spread, the action permeates ingenuity and sets a frank connection between the Kailbeliya subject and the audience.

Raphael Treza, a French musician and filmmaker, creates in Cobra Gypsies not only a compelling documentary with an outstanding soundtrack, but a colorful digital postcard like journal, postmarked in Rajasthan for the whole world to see.

In 2010, the Kalbeliyas folk songs and dances of Rajasthan were declared a part of the Intangible Heritage List by the UNESCO 

You can hear the soundtrack here


ARRI launched a new series of Master Anamorphic Flare Sets. Each of the 7 ARRI/ZEISS Master Anamorphic lenses gets its own individual and easily replaceable front and rear glass elements. They can be used individually or in combination.

The ARRI Master Anamorphic Flare Sets are highly versatile and economical accessories for the ARRI/ZEISS Master Anamorphic lens series. Each of the seven Master Anamorphic focal lengths has its own specific flare set, comprising easily replaceable front and rear glass elements with a special lens coating that encourages flaring, ghosting and veiling glare. The flare elements can be used individually or in combination to provide the lens with three additional looks for enriched on-set creativity.

The front and rear glass elements of each Flare Set have a special lens coating that enhances flaring, ghosting and veiling glare. These effects are consistent across all of the Flare Sets. You can control the aberrations by changing the lens aperture or positioning extra flare lights out of frame (Maglights attached to mattebox aiming into the lens). The Master Anamorphics retain their resolution, lack of distortion and corner-to-corner optical performance even with the Flare Sets attached.

An ARRI Master Anamorphic Toolkit (purchased separately) is used to exchange the front and rear optical elements. It only takes a few minutes: each flare element is pre-aligned in a metal frame.With the Master Anamorphic Flare Kits, a set of Master Anamorphics multiplies and essentially becomes four different sets, each with different characteristics, while still being free of curved horizons, focus breathing, mumps, barrel and pincushion distortion.

By using the ARRI Master Anamorphic Toolkit, the front and rear glass elements can be exchanged with the regular Master Anamorphic elements in a matter of minutes, since each flare element is pre-aligned in a metal frame. A set of Master Anamorphics effectively becomes four different anamorphic lens sets, each suitable for different flaring requirements while maintaining the famously distortion-free optical performance.

Main Features
Each focal length can now deliver four distinct looks
Economical way of offering greater on-set creativity
Distortion-free optical performance retained
Flare elements can be exchanged in minutes


A feature-length documentary on Tap Dance.

By George Leon

The language of music is rhythm and rhythm is the language of life. Dance and music are a universal language. Every culture has music and a dance that is attached to the tradition of their people. Tap dancing is a traditional American art form and it have inspired a  number of talented  creative dancers since the  times of the famous Bill Bailey, Cholly Atkins, Ann Miller, Hermes Pan, Bill "Bojangles" Robinson, Bunny Briggs, Fred Astaire to the new generation of tap dancers such as, Gregory Hines, Savion Glover, Ted Levy and Van Porter, and Steven Harper.

Tap World, is a documentary about the best and most creative tap dancers to be found today in our backyard and around the world. The participants are not necessarily rich or famous and some of them are just teachers and students, but all of them are certainly talented.  TAP WORLD brings to the audience an explosion of music, rhythm, movement and folklore, the culture of Tap Dance.

Steven Poster  ASC, Chloé Arnold and Maud Arnold,
 with dancers and participants of the film

The project started around 2012 by choreographer and performer, Chloé Arnold and teacher and performer Maud Arnold. The production team was led by Emmy Award winning executive producer Dean Hargrove and producer Jeff Peters who created the acclaimed tap dance short film TAP HEAT. Dean Hargrove directed TAP WORLD and Steven Poster, ASC was Producer/Supervising Director of Photography.

 A special  dance act was presented prior the premiere

In order to acquire the necessary footage of dance and interviews around the world, the production team created a website portal  to receive submissions - a casting call, if you will- to be reviewed under the strict guidelines set by the producers. After months of  traveling and screening submissions,  the results were amazing. A vibrant compilation of  two generations of tap dancers, each of them with their own  original style and identity, yet all of them dance in perfect sync regardless of age, race, place of origin and geographic location.

If you can say can dance it!  Tap..ball heel..scuffle...riff.
The language of music is rhythm and rhythm is tap...toe stand..stomp...jump..!

 Executive Producer and Director Dean Hargrove

"Historically tap dance has brought different cultures together allowing them to communicate through jazz and dance. The global community of tap dancers is growing rapidly and the new young tap dancers coming out today are not only becoming great artists but also leaders for our communities"

 Robert Forster and Denise Grayson attended the premiere

TAP WORLD it is a feel-good ethnographic documentary showing a interlaced global culture bounded together for the love of an art form. The spirit of collaboration of all performers demonstrate the required perseverance, skill, and talent needed it to become a proficient dancer.  But beyond of  those requirements, the documentary also shows that there is hope for a better future practicing the art of tap dancing. For example, in Brazil, it is hope for a better education for those living in the marginalized society of the favelas when they are able to go to tap dance school and learn this truly universal craft that later on they could call it their own. 

 Dean Hargrove and guests

I had the best time watching the film, it is well produced and it is certainly inspiring and educational. From this moment on, I will be more discerning when watching an old Fred Astaire routine on "Remember When TV"  or if I get to attend to a modern stage to see the likes of  Savion Glover or if  by the street or subway, I hear  tap..tap..tap..heel..heel ..slide, I will be sure then to stop and take my time to see the tap dancer perform.


It has been a good two consecutive years for cinematographer Enmmanuel Lubezki who has won every single major cinematography award of the motion picture industry in 2015 for the tenacious and imaginative making of the independent dark comedy Birdman (or The Unexpected Virtue of Ignorance). Birdman won big this year at the Academy Awards for Best Picture, Best Director-Alejandro Gonzalez Iñarritu-, Best Original Screenplay and Best Cinematography. Prior Oscar night, Lubezki also bagged for himself, the most prestigious awards of the industry, a BAFTA, an ASC and the Independent Spirit Award for Best Cinematography.

Last year, Lubezki originated the same fete, winning almost every single cinematography award and sealing the recognition deal by winning a BAFTA award, an ASC award and the Academy Award for Best Cinematography for the 3D science-fiction thriller "Gravity" under the helm of his friend and long time collaborator, Alfonso Cuaron.

On Gravity, the complexity of making us believe the actors were actually into deep space was challenging at best, so director Alfonso Cuaron and cinematographer Lubezki utilized the latest on production and post-production techniques and equipment, some of it developed by themselves, to bring the award winning project to fruition. On Birdman,  the challenge was of a different nature and the requirements of the script by director Alejandro Gonzalez Iñarritu was more visceral and immediate as Emmanuel Lubezki explains at the Academy Awards backstage interview:

"You know, this was probably the hardest movie I've ever worked on. And it was really hard because exactly what you mentioned, the shots were very, very long.  And we were not doing coverage so everybody had to do their best every time and not mess it up.  And I think that brought an energy to the movie that otherwise the movie would not have.  And  I think that stress and that a need for concentration made the acting so powerful and the camera and everything in the movie.  So, to my humble opinion, it's so powerful because of that.  And that's something that Alejandro wanted to do since he wrote the script.

He really wanted the movie to be in one shot or appear to be in one shot, and he didn't want to do any coverage because he knew that that was a way to immerse the audience in the movie, in the story, much deeper than than any other, you know, any other way we could have shot the movie.  And also it would make the actors do their best every time because they are used to. Usually, we shoot movies with coverage, and we do a wide shot, and the actors give only 70 percent. And then when they do their close‑ups, they do 100 percent, but this time, they knew the shots were going to be in the movie, so they had to go for the whole thing, but you should talk to them, you know".

Q: What was your first reaction when Alejandro showed you the script and what was the challenge you had with  Birdman?
"Well, the first time he talked about the movie, he said he wanted to do a movie in one shot before I read the script.  And at that moment, I truly, honestly thought I hope he doesn't offer me this movie; I'm not interested.  It sounds like a nightmare. And then when he brought the script and talked about the characters and why it had to be one shot, he captivated me, and I truly wanted to do the movie.  And it was really, really complex, very hard.  You know, there's no book that says how do it.  It was like an experiment.  And I have to say that is because he's a very strong, very curious artist.  We went through the process and made this movie happen."

"I mean every movie has to be told in a different way, whatever is good for the script,  whatever is good for the story, whatever is good for the director.  And this just happened to be what Alejandro wanted  to do and the way he wanted to tell the story and the way he wanted to immerse the people into this emotional  journey of Riggan Thomson and I went for it.  But usually the style doesn't come from me, it comes  from the  script, from the directors, from the locations where you shoot, etcetera, but mostly from what  the directors need to tell their story.  

The cinematographer's job is really to help them translate their ideas into  images, and that's what I tried to do.  So I don't know,  if I will ever try something like this again.  It will depend on what the director wants and what the script needs".

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