In celebration of its 100th anniversary, the American Society of Cinematographers has released a list of the 100 best shot films of the 20th century.
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
- 1/9/2019
- by Joey Paur
- GeekTyrant
Ryan Lambie May 23, 2019
Many years later, Alien remains a masterpiece of tension thanks to the power of its physical performances.
When a movie works - really, really works - its combination of acting, cinematography, music, sound design, lighting, and editing come together so seamlessly that it can become difficult to pin down exactly why it’s so effective. Take Alien for example: beautifully shot by Ridley Scott and cinematographer Derek Vanlint, cut with razor-sharp perfection to Jerry Goldsmith’s piping eerie score, it’s a masterpiece of genre filmmaking.
In the years since Alien’s release in 1979, various aspects of it have been singled out for praise: H.R. Giger was rightly handed an Oscar for his part in the seductively hideous xenomorph in its various stages. The film’s story and nightmare imagery is still picked over for its Freudian and feminist subtexts. Yet there’s one part of Alien...
Many years later, Alien remains a masterpiece of tension thanks to the power of its physical performances.
When a movie works - really, really works - its combination of acting, cinematography, music, sound design, lighting, and editing come together so seamlessly that it can become difficult to pin down exactly why it’s so effective. Take Alien for example: beautifully shot by Ridley Scott and cinematographer Derek Vanlint, cut with razor-sharp perfection to Jerry Goldsmith’s piping eerie score, it’s a masterpiece of genre filmmaking.
In the years since Alien’s release in 1979, various aspects of it have been singled out for praise: H.R. Giger was rightly handed an Oscar for his part in the seductively hideous xenomorph in its various stages. The film’s story and nightmare imagery is still picked over for its Freudian and feminist subtexts. Yet there’s one part of Alien...
- 5/24/2016
- Den of Geek
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Even shorn of its sound, Alien remains a masterpiece of tension thanks to the power of its physical performances, Ryan writes...
This article contains spoilers for Alien.
When a film works - really, really works - its combination of acting, cinematography, music, sound design, lighting and editing come together so seamlessly that it can become difficult to pin down exactly why it’s so effective. Take Alien for example: beautifully shot by Ridley Scott and cinematographer Derek Vanlint, cut with razor-sharp perfection to Jerry Goldsmith’s piping eerie score, it’s a masterpiece of genre filmmaking.
In the years since Alien’s release in 1979, various aspects of it have been singled out for praise: Hr Giger was rightly handed an Oscar for his part in the seductively hideous xenomorph in its various stages. The film’s story and nightmare imagery is still picked over for its Freudian and feminist subtexts.
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Even shorn of its sound, Alien remains a masterpiece of tension thanks to the power of its physical performances, Ryan writes...
This article contains spoilers for Alien.
When a film works - really, really works - its combination of acting, cinematography, music, sound design, lighting and editing come together so seamlessly that it can become difficult to pin down exactly why it’s so effective. Take Alien for example: beautifully shot by Ridley Scott and cinematographer Derek Vanlint, cut with razor-sharp perfection to Jerry Goldsmith’s piping eerie score, it’s a masterpiece of genre filmmaking.
In the years since Alien’s release in 1979, various aspects of it have been singled out for praise: Hr Giger was rightly handed an Oscar for his part in the seductively hideous xenomorph in its various stages. The film’s story and nightmare imagery is still picked over for its Freudian and feminist subtexts.
- 5/23/2016
- Den of Geek
Tears running down his face, the seven-year-old said, "Stop, Daddy! Stop! I can't take it anymore!" Considering the strange holiday line-up that I shared with Toshi and Allen, ages ten and seven, it is little wonder it almost ended in tears. But what kind of tears and why is a little less cut and dry than I might have supposed when this recent run of programming first came together. I've been seeing someone for a little while now, and it's been nice. She's met the boys and they like her tremendously, and vice-versa. The Monday after the film opened, the four of us went to see The Force Awakens together, the second time for the kids, the first time for her, and it was a great evening. They were excited about the film, about the evening out, about Star Wars in general. She was the one who brought up The Star Wars Holiday Special...
- 1/14/2016
- by Drew McWeeny
- Hitfix
"In space, no one can hear you scream." So ran the tagline for "Alien," which went into wide release 35 years ago this week (on June 22, 1979). Then again, we've been screaming loudly for the past three and a half decades, through several sequels, prequels, and other spinoffs.
Every movie fan knows that "Alien" launched the careers of director Ridley Scott (it was just his second feature) and star Sigourney Weaver (whose Ripley became the greatest action heroine in film history over the course of the franchise). Most even know that Swiss artist H.R. Giger (who passed away last month at 74) designed the "xenomorph," the alien that picks off Ripley's fellow crew members one by one. But you may not know what the alien's entrails were made of, what scenes were never filmed, or how the notorious "chestburster" sequence was made to look so horrifically realistic. Here are some of the secrets of "Alien,...
Every movie fan knows that "Alien" launched the careers of director Ridley Scott (it was just his second feature) and star Sigourney Weaver (whose Ripley became the greatest action heroine in film history over the course of the franchise). Most even know that Swiss artist H.R. Giger (who passed away last month at 74) designed the "xenomorph," the alien that picks off Ripley's fellow crew members one by one. But you may not know what the alien's entrails were made of, what scenes were never filmed, or how the notorious "chestburster" sequence was made to look so horrifically realistic. Here are some of the secrets of "Alien,...
- 6/20/2014
- by Gary Susman
- Moviefone
Avco Center Cinemas, Westwood, CA
On Friday, director Ridley Scott arrived in Sydney, Australia, reportedly to scout for locations for Prometheus 2.
Prometheus (2012) starred Noomi Rapace, Michael Fassbender, Charlize Theron and Idris Elba, was well received by critics and subsequently a box office hit. The sequel is scheduled for a release in March 2016.
I’ll bet Scott never thought in a million years that he’d be scouting locations for another Alien movie almost 35 years to the day after the original hit theaters.
Jump back to opening weekend… May 25, 1979. “In space no one can hear you scream”
I was a 12 year girl when my mother, after much pleading, took me to the Showcase Cinemas in East Hartford, Ct on that Friday night. These were the days prior to the words “spoilers” and “internet” when audiences went into a film blind and when parents didn’t take their children to R rated movies.
On Friday, director Ridley Scott arrived in Sydney, Australia, reportedly to scout for locations for Prometheus 2.
Prometheus (2012) starred Noomi Rapace, Michael Fassbender, Charlize Theron and Idris Elba, was well received by critics and subsequently a box office hit. The sequel is scheduled for a release in March 2016.
I’ll bet Scott never thought in a million years that he’d be scouting locations for another Alien movie almost 35 years to the day after the original hit theaters.
Jump back to opening weekend… May 25, 1979. “In space no one can hear you scream”
I was a 12 year girl when my mother, after much pleading, took me to the Showcase Cinemas in East Hartford, Ct on that Friday night. These were the days prior to the words “spoilers” and “internet” when audiences went into a film blind and when parents didn’t take their children to R rated movies.
- 5/25/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Movie: Alien Release Year: 1979 Studio: 20th Century Fox Director: Ridley Scott Starring: Tom Skerritt as Dallas, Sigourney Weaver as Ripley, Veronica Cartwright as Lambert, Harry Dean Stanton as Brett, John Hurt as Kane, Ian Holm as Ash and Yaphet Kotto as Parker Cinematographer: Derek Vanlint (Dragonslayer) [Alien was one of only four films Vanlint served as cinematographer] I love what Scott does with this emergency helmet, playing the screen of the Nostromo as it comes to life off of it, almost giving the helmet life.
Photo: 20th Century Fox Photo: 20th Century Fox Photo: 20th Century Fox Photo: 20th Century Fox Photo: 20th Century Fox Outside of any other shot of Ash in the film, this is probably my favorite and probably my favorite shot in the film. The master at the controls.
Photo: 20th Century Fox Photo: 20th Century Fox Photo: 20th Century Fox Photo: 20th Century Fox You'll get to know this guy's friends a little more soon enough.
Photo: 20th Century Fox Photo: 20th Century Fox Photo: 20th Century Fox Photo: 20th Century Fox Photo: 20th Century Fox Outside of any other shot of Ash in the film, this is probably my favorite and probably my favorite shot in the film. The master at the controls.
Photo: 20th Century Fox Photo: 20th Century Fox Photo: 20th Century Fox Photo: 20th Century Fox You'll get to know this guy's friends a little more soon enough.
- 6/4/2012
- by Brad Brevet
- Rope of Silicon
Ridley Scott, 1979
Alien is a perfect storm of talents: Dan O'Bannon and Ronald Shusett's lean screenplay; Derek Vanlint's moody cinematography; Jerry Goldsmith's haunting score; Brian Johnson's miniature effects, and a cast including Sigourney Weaver, Harry Dean Stanton, Ian Holm and John Hurt.
The most noticeable and revolutionary work on this film was, of course, on the design side. O'Bannon had previously worked on Alejandro Jodorowsky's ill-fated adaptation of Dune (a project that also fell through Ridley Scott's grasp). For that he had assembled an incredible assortment of artists, who he regrouped for Alien, with talents such as Moebius from the Métal Hurlant magazine, Ron Cobb from Star Wars and Swiss artist Hr Giger. Years before, Giger had a vivid nightmare where a lavatory and surrounding plumbing came to queasy, pulsating life – and so his "biomechanical" style was born. His creations were bizarre, organic machines and his designs for Alien,...
Alien is a perfect storm of talents: Dan O'Bannon and Ronald Shusett's lean screenplay; Derek Vanlint's moody cinematography; Jerry Goldsmith's haunting score; Brian Johnson's miniature effects, and a cast including Sigourney Weaver, Harry Dean Stanton, Ian Holm and John Hurt.
The most noticeable and revolutionary work on this film was, of course, on the design side. O'Bannon had previously worked on Alejandro Jodorowsky's ill-fated adaptation of Dune (a project that also fell through Ridley Scott's grasp). For that he had assembled an incredible assortment of artists, who he regrouped for Alien, with talents such as Moebius from the Métal Hurlant magazine, Ron Cobb from Star Wars and Swiss artist Hr Giger. Years before, Giger had a vivid nightmare where a lavatory and surrounding plumbing came to queasy, pulsating life – and so his "biomechanical" style was born. His creations were bizarre, organic machines and his designs for Alien,...
- 10/21/2010
- by Phelim O'Neill
- The Guardian - Film News
Canadian cinematographer Derek Vanlint, who worked primarily as a leading television commercial director, was chosen by director Ridley Scott to handle the cinematography for his darkly brooding 1979 sci-fi/horror film Alien. Vanlint subsequently served as director of photography for the 1981 fantasy film Dragonslayer. He also directed miniature photography for the 2000 X-Men film, and directed and photographed the 2000 crime thriller The Spreading Ground starring Dennis Hopper.
Vanlint died in Toronto, Canada, after a brief illness on February 23, 2010, at age 78.
Vanlint died in Toronto, Canada, after a brief illness on February 23, 2010, at age 78.
- 3/24/2010
- by Jesse
- FamousMonsters of Filmland
Canadian cinematographer Derek Vanlint may not have worked on many movies, but one of them left a considerable impression on the sci-fi genre.
Vanlint, who passed away on Tuesday, worked with director Ridley Scott on 1979’s Alien, the sci-fi classic that spawned a number of sequels. His most famous shot was the opening sequence, in which the camera slowly pans the corridors of the silent spaceship Nostromo, and across the crew members in stasis. The shot helped establish the eerie, suspenseful mood that permeates the rest of the film.
Born in Great Britain, Vanlint was a veteran director of commercials, and worked extensively in that genre even after Alien. His record includes spots for Guinness, Pepsi, British Airways and Levi’s. His other film credits include the 1981 fantasy Dragonslayer and special effects work on Bryan Singer’s X-Men.
His short films include Jimmy Pacheo and Rosa's Time, directed by Daniel Hawkes,...
Vanlint, who passed away on Tuesday, worked with director Ridley Scott on 1979’s Alien, the sci-fi classic that spawned a number of sequels. His most famous shot was the opening sequence, in which the camera slowly pans the corridors of the silent spaceship Nostromo, and across the crew members in stasis. The shot helped establish the eerie, suspenseful mood that permeates the rest of the film.
Born in Great Britain, Vanlint was a veteran director of commercials, and worked extensively in that genre even after Alien. His record includes spots for Guinness, Pepsi, British Airways and Levi’s. His other film credits include the 1981 fantasy Dragonslayer and special effects work on Bryan Singer’s X-Men.
His short films include Jimmy Pacheo and Rosa's Time, directed by Daniel Hawkes,...
- 2/25/2010
- CinemaSpy
Receiving its world premiere at the Santa Barbara (Calif.) International Film Festival, Canada's "The Spreading Ground" is a tediously routine thriller that plays like cable filler despite its more artistic aspirations.
Director-cinematographer Derek Vanlint may have given everything a big-screen sheen, but this connect-the-dots story about a downtrodden detective (Dennis Hopper) on the trail of a serial kiddie killer is awash in stale TV crime-show platitudes.
When the bodies of five girls turn up in the river during a 24-hour period, Detective Ed Delongpre (Hopper) finds that he's not the only person conducting an investigation. Concerned that the scandal will harm her reputation, Mayor Hackett (Elizabeth Shepherd) has put the screws to Delongpre's superior, Capt. Neiman (Chuck Shamata), who, in turn, has bribed the local Irish mob into speeding up the process.
They put their on man on the case --the cold-blooded but highly methodical Johnnie Gault (Tom McCamus) --while Delongpre also has to deal with a very tricky reconciliation involving the mayor's assistant, Leslie (Leslie Hope), who also happens to be his estranged daughter.
Essentially a watery take on Fritz Lang's "M," "The Spreading Ground" drowns under the weight of all the cliched dialogue and stiffly choreographed action sequences.
While it's nice to see Hopper playing low-key for a change, there's so little character detail for him to grab on to that there are times he barely registers at all.
As the wronged daughter, Hope conveys all the necessary tough/vulnerable emotions, but she too is stuck with a character that has been sketched with the broadest of strokes, courtesy of screenwriters Mark Nakamura and Eric Nicholas.
Production values, are, for the most part, economically efficient, with the exception of the on-the-cheap, toothless synth score -- attributed, ironically, to a composer who goes by the name of Shark.
Like the rest of this soggy enterprise, those sonic water droplets ring annoyingly synthetic.
THE SPREADING GROUND
Tsunami Entertainment
Producer:Ken Nakamura
Director:Derek Vanlint
Screenwriters:Mark Nakamura, Eric Nicholas
Story:Mark Burman, Ross Korte
Executive producers:Beni Atoori, Susan Wichmann
Director of photography:Derek Vanlint
Production designer:Seamus Flannery
Editor:Michael Doherty
Costume designer:Tamara Winston
Music:Shark
Color/stereo
Cast:
Detective Ed Delongpre:Dennis Hopper
Leslie Delongpre:Leslie Hope
Johnnie Gault:Tom McCamus
Capt. Neiman:Chuck Shamata
Mayor Hackett:Elizabeth Shepherd
Running time --- 95 minutes
No MPAA rating...
Director-cinematographer Derek Vanlint may have given everything a big-screen sheen, but this connect-the-dots story about a downtrodden detective (Dennis Hopper) on the trail of a serial kiddie killer is awash in stale TV crime-show platitudes.
When the bodies of five girls turn up in the river during a 24-hour period, Detective Ed Delongpre (Hopper) finds that he's not the only person conducting an investigation. Concerned that the scandal will harm her reputation, Mayor Hackett (Elizabeth Shepherd) has put the screws to Delongpre's superior, Capt. Neiman (Chuck Shamata), who, in turn, has bribed the local Irish mob into speeding up the process.
They put their on man on the case --the cold-blooded but highly methodical Johnnie Gault (Tom McCamus) --while Delongpre also has to deal with a very tricky reconciliation involving the mayor's assistant, Leslie (Leslie Hope), who also happens to be his estranged daughter.
Essentially a watery take on Fritz Lang's "M," "The Spreading Ground" drowns under the weight of all the cliched dialogue and stiffly choreographed action sequences.
While it's nice to see Hopper playing low-key for a change, there's so little character detail for him to grab on to that there are times he barely registers at all.
As the wronged daughter, Hope conveys all the necessary tough/vulnerable emotions, but she too is stuck with a character that has been sketched with the broadest of strokes, courtesy of screenwriters Mark Nakamura and Eric Nicholas.
Production values, are, for the most part, economically efficient, with the exception of the on-the-cheap, toothless synth score -- attributed, ironically, to a composer who goes by the name of Shark.
Like the rest of this soggy enterprise, those sonic water droplets ring annoyingly synthetic.
THE SPREADING GROUND
Tsunami Entertainment
Producer:Ken Nakamura
Director:Derek Vanlint
Screenwriters:Mark Nakamura, Eric Nicholas
Story:Mark Burman, Ross Korte
Executive producers:Beni Atoori, Susan Wichmann
Director of photography:Derek Vanlint
Production designer:Seamus Flannery
Editor:Michael Doherty
Costume designer:Tamara Winston
Music:Shark
Color/stereo
Cast:
Detective Ed Delongpre:Dennis Hopper
Leslie Delongpre:Leslie Hope
Johnnie Gault:Tom McCamus
Capt. Neiman:Chuck Shamata
Mayor Hackett:Elizabeth Shepherd
Running time --- 95 minutes
No MPAA rating...
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