best cinematography shots from the aviator

They both are two of the best-composed films of the year, for one. Yes, both films make excellent use of those formats ( Carol‘s gorgeously grainy, soft-edged textures, Hateful Eight‘s pristine landscape shots), but there’s much more to these films than their film stocks. Much has been made about how both of these films were shot Carol was shot on 16mm (Todd Haynes and Lachman’s second use of the format, after their HBO miniseries Mildred Pierce) and The Hateful Eight was shot on 65mm. The Boldness of Composition Award: (tie) Carol, Ed Lachman, A.S.C., The Hateful Eight, Robert Richardson, A.S.C. Thackery perfectly in line with fellow haunted Soderbergh protagonists such as Wilson and Chris Kelvin (in one scene in the finale, he also gets to channel Ocean’s Twelve‘s Night Fox with a frantically-scored warm-up montage) There’s a beautifully malicious reprise of the hospital sequence in The Underneath, a trip to Nicaragua that evokes the beautiful greens of Cuba in Che: Part One, yet more nods to Soderbergh’s hero, Gordon Willis (the ending of episode 5 strongly echoes The Godfather), and, best of all, surreal flashbacks/hallucinations that puts Dr. The first season was hardly lacking for memorable images (one might still be the most disturbing thing Soderbergh has ever shot), but the second season kicked things into even higher gear, with many episodes resembling a collection of Soderbergh’s greatest visual hits. Even more than he was killing it for the last ten years or so of his career directing theatrical releases, Soderbergh has been straight-killing it on The Knick, making a period show bracingly modern with every composition and use of natural lighting. The “It’s My List, I Can Do What I Want” Award: The Knick, Peter AndrewsĬ’mon, just because I covered Magic Mike last time doesn’t mean Soderbergh can’t get a spot here, even if it’s for a TV show that is, to the best of my knowledge, not a film.

For the sake of fairness, the films I covered in that first article won’t be mentioned here, no matter how badly I want to (see: Magic Mike XXL and Mad Max). Now that the year is through, I can finish the look at some of the year’s best-looking films. At the beginning of July, I covered the half-year in cinematography.

Best cinematography shots from the aviator