Owen Roizman
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May 27, 2008 · The prince of darkness.
- 4 min
- 67.5K
- kolatian
Feb 24, 2020 · In the following interview, director of photography Gordon Willis explains his visual approach to this particular assignment and details some of the unusual and rule-breaking techniques which he is utilizing:
- ASC Staff
May 4, 2020 · An extended Interview of cinematographer Gordon Willis from the film, Cinematographer Style. It pays homage to the artists who transform ideas into images. I...
- 58 min
- 13.6K
- Ramiz Naveeth
Nov 13, 2009 · Willis is the visual mastermind behind classic films like Annie Hall, The Godfather, and Pennies From Heaven. We tip the hat in his direction with a rebroadcast of a 2002 conversation about his...
- A Groundbreaking Style
- The Prince of Darkness
- Telling The Story Through Lighting
- Stylized Naturalism
- Confidence and Patience
- A Timeless Masterpiece
“The Godfather” was released only three years after Gordon Willis’ feature debut as a cinematographer, on Aram Avakian’s 1969 cult favorite “End of the Road.” In the period between “End of the Road” and “The Godfather” Willis shot six movies including “Klute,” (1971) a modern day film noir in which Willis pushed the limits of what was considered ac...
“The Godfather” announced its boldness with the opening shot, a slow reverse zoom that started in a close-up on actor Salvatore Corsitto as Bonasera and pulled back to show him surrounded by darkness before revealing the title character played by Marlon Brando. The sequence that followed not only established the visual template for the film but int...
Willis’ willingness to let his frames go dark was easily replicable by cinematographers looking to recreate his striking effects, but the real power of his technique was its inextricable connection to theme and his use of contrast — he knew that for a film to look truly dark, there had to be light for the darkness to react against. Nancy Schreiber ...
Perhaps the most influential aspect of Willis’ cinematography was not its innovations, but its marriage of those innovations to classical Hollywood storytelling. For all his new techniques, his end goal was still the same as that of the old guard: to make the filmmaking invisible and draw the audience into the narrative. John Matysiak (“Old Henry,”...
Part of what pulled the audience into “The Godfather” was Willis and director Francis Ford Coppola’s supreme visual confidence; from that opening scene in Brando’s office, the compositions, lighting, and cutting were so purposeful and deliberate that the viewer subconsciously registered that they’re in good hands — a feeling that made audiences wil...
Checco Varese: Cinematographers paint with light — Gordon Willis painted with shadows to make sure you were only seeing what he wanted you to see or what the director wanted you to see. He was the first one to say that there are some things you don’t needto see. In 1972 that was groundbreaking — it was like watching the first movie in color, or wit...
- Jim Hemphill
Oct 31, 2019 · Gordon Willis died in 2014, but American Cinematographer dug up an old interview with him filled with lots of pertinent advice. Check it out! Jason Hellerman. Oct 31, 2019. Gordon Willis is the cinematographer behind legendary movies such as The Godfather, Annie Hall, All The President's Men, and Klute. He passed away in 2014, and that sucks.
Dec 12, 2021 · 420. 10K views 2 years ago. Legendary cinematographer Gordon Willis, ASC discusses his collaboration with Alan J. Pakula on The Parallax View. There are some particularly interesting comments...
- 18 min
- 10.3K
- Cinematographers on cinematography
