Hal Ashby's obsessive genius led to an unprecedented string of Oscar®-winning classics, including Harold and Maude, Shampoo and Being There. But as contemporaries Coppola, Scorsese and Spielberg rose to blockbuster stardom in the 1980s, Ashby's uncompromising nature played out as a cautionary tale of art versus commerce.
A very special encounter between legendary American cinematographer Vilmos Zsigmond and young French director Pierre Filmon. A personal journey with the brightest shadowmaker and his friends.
The behind-the-scenes story of how "Casablanca" became an American film classic.
Documentary about the work of film director Michael Curtiz.
A select group of key creative forces involved in the making of Twin Peaks reveals their take on the fascinating creation and journey of the wildly popular show.
A look at the visual design of the film The Shining (1980).
Cameramen and women discuss the craft and art of cinematography and of the "DP" (the director of photography), illustrating their points with clips from 100 films, from Birth of a Nation to Do the Right Thing. Themes: the DP tells people where to look; changes in movies (the arrival of sound, color, and wide screens) required creative responses from DPs; and, these artisans constantly invent new equipment and try new things, with wonderful results. The narration takes us through the identifiable studio styles of the 30s, the emergence of noir, the New York look, and the impact of Europeans. Citizen Kane, The Conformist, and Gordon Willis get special attention.
Caleb Deschanel is an American film cinematographer and film/television director. He has been nominated for six Academy Awards, each time in the field of cinematography. The first nomination came in 1983 for the film The Right Stuff. His second was in 1984 for The Natural, the third in 1996 for Fly Away Home, the fourth in 2000 for The Patriot, the fifth for The Passion of the Christ (2004), and the sixth for Never Look Away (2018). He is the father of actresses Emily Deschanel and Zooey Deschanel.
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