FUNNY GIRL (1968, Wyler)
There are two amazing shots, both using the same technique, in this sequence from William Wyler's Funny Girl. But I'm mostly impressed today with the man who actually shot them, Nelson Tyler. Not only did he run the camera but
GOODFELLAS (1990, Scorsese)
The stuff I found for today's post is awesome, complete with multi-media bonus features that really demonstrate the brilliance of Scorsese's work here. (As with Spielberg, I could fill an entire blog just with shots by Scorsese.) Often times when a
THE KING’S SPEECH (2010, Hooper)
Tom Hooper (director of HBO's His Dark Materials, which in fact does not use these types of negative-space compositions) got a lot of use of oblique camera angles in this movie as well as in HBO's John Adams. In both
LAWRENCE OF ARABIA (1962, Lean)
Of course not all incredibly effective shots are oners. This one is the culmination of a series of shots masterfully edited. And you can't talk about masterful editing without talking about David Lean. He began his career as an editor
EXORCIST III (1990, Blatty)
If you haven' seen it, enjoy; in short form, the nurse station scene still works brilliantly. And if you have seen it already, maybe you've forgotten just enough. I've been startled by this more than once. David Lean always said, in
PAPER MOON (1973, Bogdanovich)
Nothing beats, in terms of performance & overall impact, this amazing single shot from Paper Moon. It's a simple thing -- on the surface -- but took Bogdanovich a grueling day and half to get this short scene. The little girl,
ALWAYS (1989, Spielberg)
I know, I know, why this movie? Because this shot from ALWAYS, a minor film not highly regarded by most, is so amazing - a little treasure in a film filled with bravado staging and camera work, but otherwise mostly