Greatest Cinematographers of All Time
If a picture is worth a thousand words, what is a film at 24 frames per second worth? Let's not do the math, but considering that every minute of film is composed of thousands of flashing photos, it's worth a lot, to say the least; perhaps that's why so many great books have been written about cinematography and the visual medium. The cinematography of any given film leaves a lasting impact on the viewer for good reason.
The visual component (and the ability to frame, light, and color it in certain ways) is what makes movies stand apart from other art forms like music and literature. Cinematography can achieve any number of tasks, including showing depth of character, eye-catching settings, and building suspense. Even the lowest budget production can be enhanced by strong cinematography. The director of photography obviously has his work cut out for him.
There have been so many talented cinematographers in the industry, that it is incredibly difficult to choose only a handful for this list. From blockbusters like La La Land and Star Wars to lesser known films like Bound for Glory, there are countless different styles and
Cinematographer Greig Fraser Looks Back on His Love for &#;Dune&#;
Greig Fraser went into &#;Dune&#; knowing the size of the story and its reputation. Much like the planet Arrakis, &#;Dune&#; hadn&#;t yet been conquered on film. Frank Herbert&#;s world of intergalactic ambitions, byzantine politics, and religious plots within plots has such epic scope that adaptations have so often been the graveyard of empires. Or at least of Dino De Laurentiis. That Denis Villeneuve called his sci-fi epic &#;Dune: Part 1&#; shows just how far his ambitions reached and the film&#;s cinematography is a huge part of the reason why that confidence has paid off with a sequel order from Legendary and Warner Bros. Hearing Fraser talk about his and Villeneuve&#;s approach to constructing the world of &#;Dune&#; is to get as close as possible to a filmbook crash course in creating an immersive world on screen.
Fraser and Villeneuve had the whole of an IMAX canvas and a lot of the country of Jordan at their disposal and deliberately tried to find simple compositions that nonetheless got to the emotional heart of the scene. &#;You don&#;t want your audience spending too long looking at the corner of
How ‘The Batman’ Cinematographer Greig Fraser Reinvented the Dark Knight’s Big Screen Presence
Greig Fraser’s first conversations with Matt Reeves began before the director ever signed on to the comic book film. While in post-production on his “Planet of the Apes” movies, Reeves talked to the cinematographer about being approached by Warner Bros. to helm a new film adaptation of the Caped Crusader. “There was no job offer there, for him or for me, actually,” says Fraser. “It was more about ‘Ah man, could you imagine if Batman did this?’ I was loving hearing his take on what he thought Batman should be.”
Eventually, “timing worked out,” says Fraser. And in the cinematographer, Batman has found a match made in comic book movie heaven. Through his lens, Batman is more brutal than moviegoers have ever seen before, pummeling Gotham’s criminals to a pulp in his quest to deliver perceived justice that Fraser points out was intended to be “murky.”
That “The Batman,” shot under strict COVID protocols and forced to navigate a complex production around its main star testing positive,
A Conversation with Oscar Nominated Cinematographer Greig Fraser
When Greig Fraser first got the call to work on Lion, it didn’t take him long to make up his mind about the project. “When [director Garth Davis] explained the story to me over the phone, I was in tears hearing about it,” Fraser told me last week. “Like I was in tears,” he repeated. Fraser’s emotional response colors every frame of the film, for which he just won the ASC’s Feature Film award. Now the protean cinematographer is a favorite for the Best Cinematography Oscar, a fitting cap to what has surely been a prodigious year of work.
It’s easy to see what Fraser responded so strongly to: Lion tells the powerful true story of Saroo Brierley, who at the age of five was separated from his brother in a Calcutta train station. After being adopted by an Australian family and growing up in Tasmania, Brierley set out 25 years later to find his lost family. It’s a worthy subject for a film, no doubt, but one that in different hands could have descended into easy sentimentality. Thanks in large part to Fraser’s grounded, honest imagery, the film instead turns out to be one of the year’s finest ‐ a subtle yet
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