DECONSTRUCTING CINEMATOGRAPHY: THE FRIENDS OF EDDIE COYLE

Continuing with their professional educational series, Canon Hollywood Professional Technology &  Support Center presented  "Deconstructing Cinematography: The Friends of Eddie Coyle with Richard Crudo, ASC".

You can listen below the 25 minutes audio podcast:: Victor J. Kemper, ASC, and Richard Crudo, ASC, sit down to discuss Kemper’s work on the 1973 crime drama The Friends of Eddie Coyle, starring Robert Mitchum and shot entirely on location in Boston and Connecticut.

 Richard Crudo, ASC

With decades of work in commercials, episodic TV and feature films, cinematographer and ASC President Richard Crudo, examined the lighting plot, framing, camera movement and the cinematic language of several scenes composed  by Victor Kemper, ASC  on  the making of the crime drama  "The Friends of Eddie Coyle", released in 1973, directed by Peter Yates.

  Victor Kemper, ASC

Victor Jay Kemper, A.S.C. (born April 14, 1927) is an American cinematographer who has worked on over fifty films. He is a member of the American Society of Cinematographers (ASC), and was its president twice, from 1993 to 1996, and from 1999 to 2001. Kemper won an Emmy for Outstanding Achievement in Cinematography for his work on the 1987 television movie, Kojak: The Price of Justice.

 Medium CU of  Eddie Coyle (Robert Mitchum) at a diner

In a times of  feature films for theatrical release impregnated with fast editing techniques, advanced lighting schemes, and a plethora of 4K capturing choices with instant digital playback,  The Friends of Eddie Coyle, seems like the antithesis to the fast pace cinematography utilized on today's crime dramas. Nonetheless, the superb screenplay layered with shadowy characters was masterfully photographed in 35mm reflecting the intricacies of  the Massachusetts criminal  underworld and the inner struggles of a man, Eddie Coyle.

Reverse over the shoulder of Dillon (Peter Boyle) and Eddie (Robert Mitchum)

While dissecting scenes, Crudo expressed his admiration and puzzlement to the lighting scheme and concise actor blocking and directorial technique utilized by Kemper and Yates.  The unchanged shadowless flat lighting in interior scenes, and the punchy  directional spot key light on exterior night scenes and the long static takes are a cinematic signature of this film.

 Exterior night scenes are illuminated with a frontal directional  source.
Not even a reference back light or back wall wash.

The film counts with an stellar cast of the genre, Robert Mitchum, Peter Boyle and Richard Jordan fitting perfectly with the shadowy  gangsters. Eddie Coyle (a.k.a. "Eddie Fingers") an aging delivery truck driver for a bakery. He is also a low-level gunrunner for a crime organization in Boston, Massachusetts. He is facing several years in prison for a truck hijacking in New Hampshire set up by Dillon, who owns a local bar. Coyle's last chance is securing a sentencing recommendation through the help of an ATF agent, Dave Foley, who demands that Coyle become an informer in return. Unbeknownst to Coyle, Dillon is an informer for Foley.

Click the image to link to the podcast.. 

Victor J. Kemper, ASC, & Richard Crudo, ASC, discuss Kemper’s  work 

on the 1973 crime drama The Friends of Eddie Coyle

Amy Kawadler, Canon Hollywood & Richard Crudo ASC 

ACADEMY MOVES ON TO INCREASE DIVERSITY

 Lifetime voting rights reframed; new governor seats added and committees restructured. Goal to double number of diverse members by 2020.

In a unanimous vote Thursday night (1/21), the Board of Governors of the Academy of Motion Picture Arts and Sciences approved a sweeping series of substantive changes designed to make the Academy’s membership, its governing bodies, and its voting members significantly more diverse.  The Board’s goal is to commit to doubling the number of women and diverse members of the Academy by 2020.

“The Academy is going to lead and not wait for the industry to catch up,” said Academy President Cheryl Boone Isaacs. “These new measures regarding governance and voting will have an immediate impact and begin the process of significantly changing our membership composition.”

Beginning later this year, each new member’s voting status will last 10 years, and will be renewed if that new member has been active in motion pictures during that decade.  In addition, members will receive lifetime voting rights after three ten-year terms; or if they have won or been nominated for an Academy Award.  We will apply these same standards retroactively to current members.  In other words, if a current member has not been active in the last 10 years they can still qualify by meeting the other criteria.  Those who do not qualify for active status will be moved to emeritus status.  Emeritus members do not pay dues but enjoy all the privileges of membership, except voting.  This will not affect voting for this year’s Oscars.

At the same time, the Academy will supplement the traditional process in which current members sponsor new members by launching an ambitious, global campaign to identify and recruit qualified new members who represent greater diversity.

In order to immediately increase diversity on the Board of Governors, the Academy will establish three new governor seats that will be nominated by the President for three-year terms and confirmed by the Board.

The Academy will also take immediate action to increase diversity by adding new members who are not Governors to its executive and board committees where key decisions about membership and governance are made. This will allow new members an opportunity to become more active in Academy decision-making and help the organization identify and nurture future leaders.

Along with Boone Isaacs, the Board’s Membership and Administration Committee, chaired by Academy Governor Phil Robinson, led the efforts to enact these initiatives.

IS #OSCARSOWHITE A REAL CRISIS IN HOLLYWOOD?

The #OscarsSoWhite controversy has been making headlines as some black actors voiced their discontent with the current outcome of the latest Academy Awards nominations.For a second year in row only white actors were nominated. Last year’s Oscar nominations also drew criticism for their lack of diversity.

Director Spike Lee, who recently received an Academy Governor’s Honorary Award and called from the podium for “a serious discussion about diversity” and actress Jada Pinkett Smith have both called for a boycott of this year's Oscars Award in behalf of the snubbed African-American actors, including Idris Elba “Beasts of No Nation” and Pinkett's Smith husband Will Smith “Concussion”, and for this year favorite but also snubbed African-American actors and films  “Straight Outta Compton" and “Creed.”

Many insiders of the entertainment industry and broadcast and printed media have echoed the discontent, making it the hottest topic of conversation and the headline news even surveying among readers and viewers the plausibility of a boycott on Oscars Night.

Paradoxically to the claims, the host of the ceremonies for this year is the African-American comedian Chris Rock, who called the Oscars the “White BET Awards” on Twitter.

In response to the long standing controversy, Academy president Cheryl Boone Isaacs released an official statement and said that she is “heartbroken and frustrated” by the lack of diversity among this year’s nominees, and  announced the Academy of Motion Picture Arts and Sciences is taking “dramatic steps to improve the makeup of our membership". 

Isaacs, who is also African-American, said the Academy will review its recruitment efforts in the coming days and weeks. The Academy has recently  taken steps to diversify its voters, adding non-white actors and directors to its 6,000-plus membership.

“In the ‘60s and ‘70s it was about recruiting younger members to stay vital and relevant said Ms. Isaacs. “In 2016, the mandate is inclusion in all of its facets: gender, race, ethnicity and sexual orientation.”

The controversy of lack of diversity has been declared as a "Crisis of Diversity in the Motion Picture Industry",  as reported and publicized by the media and recently by the complaining filmmakers. The observation is valid from the labor point of view in major film studios, but overblown from the creative point of view. 

The feature film industry is one of the most liberal and creatively inclusive industries in contrast to its counterpart, the television broadcasting industry. We are living in an era in which you can make whatever film you want to make. No holds barred, only the barriers could be those inside your mind or just  by lack of talent.

Anyone regardless of race, gender ethnicity or religion, could become the best director or the best actor or the best cinematographer. It is all up to you. The more creative you become, the more you are accepted among the venerable stars.  This rag to riches story has been repeated  thousand times over in the ranks of the creative force of Hollywood.

If not getting what I believe I deserve in matter of artistic differences is a "Crisis",  then more of a million of asylum seekers trekking the breadth and width of Europe looking for a better future is a just a bad film script.

The nominations in any category for an Academy Award are not an undeniable right to any filmmaker in competition, just because he or she made a movie tailored to win an award or because he or she is Asian, Hispanic or Black. (minority)

The nominations to any motion picture award in Hollywood and elsewhere should be based in the undeniable and honest acting ability of the actors of commanding an outstanding performance and to the ability of the directors and producers to translate the script into the best cinematic  language to compel an audience, case in point, the voting members of the Academy, regardless of  their race or gender.

To take art hostage declaring the boycott "I-will-not-attend-to-the-Oscars" citing race discrimination because my art (a feature film) was "snubbed " from the nominations seems like seeking for an opportunity to re-market the snubbed film to the masses as a star studded underdog during one of most watched telecasts in the world.

The Academy Awards nominations for outstanding achievement in any category should be based on performance and technical merits only as it is presently established by the Academy of Motion Pictures Arts and Sciences.

The implementation of the new membership mandate of inclusion by gender, race, ethnicity and sexual orientation to tabulate or nominate any film into competition, as proposed by Academy President Cheryl Boone Issacs  in response to the threats of boycott, will most likely produce a larger scope of future nominated films and could be the catalyst need it to maintain a fair outcome on the largest film competition in the world.  

BAND PRO OPEN HOUSE 2015

 An outstanding new lens, the 135mm Leica Summilux-C
showcased  by CW Sonderoptik 

A winter themed Band Pro’s Annual Open House & Showcase on December 10 at their Corporate Offices in Burbank

The event was held inside of a large tent converted as a wintry ski destination where participant vendors and manufacturers showcased the latest products and technology. The landing of a snow covered vintage ski lift, propped up with pine trees, snow man and live models served as the target to experience a hands-on test of the different digital cinematography cameras brands and cinema lenses on set, all illuminated by the latest technology of LED flat panels and LED fresnels. 

 

  

To complete the wintry theme, two apres-ski looking bars were open serving libations along with a tasty buffet style menu serving Swedish meatballs and more. Hey, This is an industry showcase worth to visit every year!

 Band Pro President Amnon Band and IB/E President Klaus Eckerl announcing the 

introduction of a new line FF Macro Cine Lenses. 

The center piece of the event was the presentation of a line of new FF Macro lenses which are a notable new advancement in professional optics as announced by IB/E President Klaus Eckerl. “These new macro lenses were designed to address the industry-wide movement toward larger format sensors".

Band Pro’s President Amnon Band and IB/E President Klaus Eckerl introduced to the industry the B/E Optic Macro FF 100mm T2.9, it which it was at hand to test. The available focal lengths in new IB/E Macro FF lens family are the 100mm T2.9, 150mm T2.9, and 180mm T2.9.

Band Pro's CTO Jeff Cree setting up the dolly into position  

to showcase the IB/E Optics prototype 100mm Macro FF

As Macro, the lenses cover full frame (24×36 mm / 44 mm diagonal)with a close focus of 1:1 magnification, so you could fill the 24×36 format with an object that is also 24 x 36 mm. At 1:1 Magnification, you lose 1⅔ stops.

The B/E OpticMacro FF are also superb throughout the rest of focus range. They all focus to 1:1 and have internal focus, consistent position of the focus and iris gears (no need to move follow focus or lens motors when changing lenses). The front diameters are all the same: 95mm—same as Leica Summilux-C and Summicron-C.

The lens mount is UMS PL—Universal Mount System—familiar to users of IB/E Exenders, Expanders, and conversion kits. It quickly converts, without tools, between PL, Canon EF, Nikon F, Sony E and MFT mounts. 

IB/E Optics is a Bavarian company well known for expanders, adapters, BavEyes, IBELux 40mm T1.9, S35 Scope, industrial, machine vision, as well as the ARRI Alexa 65 primes and the 50-110 zoom. The IB/E Macro FF lenses are expected Summer 2016 and are available exclusively from Band Pro Film & Digital worldwide.  For more info, visit www.bandpro.com

(Technical descriptions of I/BE  Optics lenses, courtesy of  Jon Fauer's FDTimes) 

Among other celebrations was the 10th Anniversary of FDTimes (Jon Fauer's Fim & Digital Times Magazine). FDTimes certainly is an essential journal documenting the fast changing advances and technologies in the manufacturing, art and practices of today's  motion picture industry. Jon was awarded a spectacularly gorgeous analog 10th anniversary limited edition snakewood Faber-Castell writing instrument (pen) in a Harry Potter/Olivander Wand Shop worthy case. Snakewood is a magical, rare and expensive wood, also used for musical instruments.  

Jon said in the latest issue of FDTimes " It’s going to be difficult going back 
to a keyboard after wielding this pen. As the medieval monks said while
 breaking a new pen, “Probatio penne". Our comment is: "By digital keystroke 
or iron gall ink, FDTimes plays a similar service to the motion picture industry 
as medieval Illuminated books of yore did to history".

 Band Pro congratulated DP James Neihouse 

(IMAX Space Station 3D, Imax Hubble 3D) 

on his recently announced ASC Membership.  

James shared 4K footage from his films.

The talented and experienced made a beeline to the CW Sonderoptik booth.

Pictured here is Roy H. Wagner, ASC  having an hands-on test.

A busy corner was the CW Sonderoptik booth, showcasing their new Leica’s 16mm and 135mm Leica Summilux-C lenses.CW Sonderoptik, showcased their new Leica’s 16mm and 135mm Leica Summilux-C lenses. Summilux refers to the maximum lens aperture of f/1.4.  The Leica Summilux-C Multi-Aspherical lenses line also are available in 18mm, 21mm, 25mm, 35mm, 40mm, 50mm, 75mm, 100mm with additional focal lengths 16mm, 29mm, 65mm. 

Otto Nemenz carries the full line of Summilux-C lenses in his

 Hollywood rental house. Otto Nemenz Int,  is pictured  here (right)

chatting with Seth Emmons of CW Sonderoptik

Summilux-C lenses T1.4 close focus primes, employ a unique multi-aspheric design and high-precision cine lens mechanics to provide unmatched flat field illumination across the entire 35mm frame and suppression of color fringing in the farthest corners of the frame with no discernible breathing. All Leica Summilux-C are made of Titanium. Summilux-C lenses T1.4 close focus primes employ a unique multi-aspheric design and high-precision cine lens mechanics to provide unmatched flat field illumination across the entire 35mm frame and suppression of color fringing in the farthest corners of the frame with no discernible breathing. For more info visit CW Sonderoptik gmbH   or Otto Nemenz Int  For further reading visit Thorsten Overgaard 

 Norm Kellog and Greg Prentiss,  the battery experts

 in cinematic, lighting & video production

 Newcomers to the show was Block Battery,  a battery systems and custom solutions for all your cinematic, ENG/EFP, and lighting production needs, BlockBattery innovations support the most challenging power requirements with respect to high current, high capacity, multiple voltages (14.4V, 24V, 28.8V & 30V) with robust electrical/mechanical designs.

BlockBattery designs & manufactures in the USA. BlockBattery engineer systems with an emphasis on addressing high current DC applications with robust electrical and mechanical designs to improve product longevity and provide product solutions yielding a lower total cost of ownership. BlockBattery products are regularly used in the production of feature films and other commercial video production, powering cameras such as the Alexa, Phantom, Red, Sony CineAlta and a range of other portable video & lighting equipment. Available for  rent and purchase at Band Pro and other qualified dealers. For more info, visit BlockBattery

Dan Keaton, Sales Director of Convergent Designs

A veteran of the motion picture industry is the the display I/O manufacturer of portable HD multicamera recorder/switchers, Convergent Design. For 10 years, Convergent Design has been manufacturing industry-changing digital recording products, enabling videographers and cinematographers to capture at the ultimate video quality, in a small, low power, lightweight package. 

Their breakthrough product was the NanoFlash, with over 5,000 units in the field, it began a revolution of tapeless workflows. The next generation Gemini 4:4:4, is the first uncompressed professional recorder, and the first to include a touch-screen monitor. Showcased at Band Pro's was the Apollo and  the Odyssey7Q+ which is the most versatile monitor/recorder in the world.

With updated features such as, HD/2K/UHD/4K, 4K/UHD capture over HDMI or SDI,  SDI Single, /Dual/Quad Link, RAW to Apple ProRes Conversion, 4K/UHD->2K/HD conversion, Low Power/Light Weight and Intuitive touchscreen interface makes the Odyssey7Q+ a dream come true for TD's (technical Directors), DP's, Camera Operators, Directors, DIT's and even Lighting Directors. 

One professional monitor/recorder, 7.7” size, with 1280x800 OLED  featuring true blacks, and accurate color with a full range color gamut for Rec709 or DCI-P3 viewing.  It features,  Waveform, Vectorscope (in future update), Histogram, False color exposure view, Zebra, three-mode Focus Assist, Pixel Zoom (1:1 & 2:1), LUTs, and Frame Guides. And it records Apple ProRes 422 (HQ) up to 1080/60p, 1080/60i and 720/60p in a high-speed Solid State Drive (SSD), available in 256GB, 512GB and 1TB capacities.

For more info, visit Convergent Design 

At the Ikan booth, I found the  Tilta Armor-Man Ultimate Gimbal. It features a Quick release dual spring arms with adjustable tension control compatible with Movi, Ronin, and others gimbals support systems, with height adjustable vest, V-Lock battery plate with 12v - 5V, Two quick release dual spring arms with adjustable tension control, Wrist and gimbal handle support. In this case the operator was "gymbaling"  (stabilizing) a pint of beer. Great to avoid spills!

Without these two illustrious gentlemen, Denny Clairmont and Otto Nemenz 

the motion picture rental industry would have been certainly different.

16 x 9  Movcam Camera Cage and Shoulder Support

Michael Bulbenko and the Fujifilm team

Canon C-300 with 15.5-47 zoom lens and C-motion focus servo control

Tim Smith and his Canon Team and friends

Hands-on testing

Roy H. Wagner ASC, Michael Horowitz and Jody Eldred

The Team Angenieux table showcasing une belle dame and a  25-250 Optimo 

and a 16-40 Optimo zoom lenses.

Interview time at the lodge with Sony cameras

Technical descriptions of I/BE  Optics lenses, courtesy of  Jon Fauer's FDTimes.

HOMEWARD & BREAKING RULES BIG WINNERS AT LA JOLLA INTERNATIONAL FASHION FILM AWARDS

OFFICIAL LIST OF WINNERS FASHION FILM 

AWARDS 2015 HELD IN LA JOLLA, CALIFORNIA 

HOMEWARD took three awards home, Best Picture produced by Man Made Content / Sasha Koehn, Justin Bain and Ari Schneiderman and Best Director to Phillip Montgomery and Josh Franer and it was a tie in the category for Best Director with Victor Claramunt for his whimsical and clever  whimsical and clever boarding school for girls story, BREAKING RULES. The BEST CINEMATOGRAPHY award went to Louis Bergogne for PARIS EST A NOUS. The BEST ACTRESS  award went to Jessy Schram for HOMEWARD.  

James Franco was the recipient of the INNOVATORS AWARD. James was on location in Canada and "Skyped live" the audience to receive the award.  The BEST ACTOR award went to Antonio Contreras for his performance in AY JOSE!, paying homage to the golden era of Mexican Cinema. During intermission,  Antonio Contreras and his ensemble cast, performed a musical repertoire based on the film soundtrack.

Best Fashion award went to Rye Yamagata for THE NEW SOVEREIGNTY.  The uber fashionista blogger Michelle Pham was the recipient of the NEW ICON Award.  Best Visual Effects award went to Adrien Servadio for STARDUST.  In the category of Best Art Direction, Josh Brandao took the award home for  SILVER GIRL.

There are not good film festivals without presenting groundbreaking or revealing documentaries and  PEYOTE DREAMS by Luis Barreto Carrillo and Amber Moelter took the Best Documentary award to their mantelpiece in Brooklyn. The Best Music Award went to Lykke Li for GUCCI SSI4. The audience laughed, screamed and applauded while screening the vampire sci-fi thriller adventure THE ONE 2, it which deservedly so,  got the Best Editing award to Robert E Ball.

THE CIRCLE OF FORTUNE by Mika Ceron, a film with a very ingenious storyline, took the Best Creative Concept award. The Best Costume Design went to the mesmerizing production QUEEN BRUSHANDS by Maison Antonio Urzi. The Best Make Up went to Tony Heredia, Alejandra Catalina Garcia and Ialode Studio for AY JOSE!  And the Best Hairstyling went to THE CHASE by Paul Donovan.

Ari Schneiderman Best Picture Victor Claramunt Best Director Josh Franer & Phillip Montgomery Best Director Jessy Schram Best Actress James Franco Innovators Award Antonio Contreras Best Actor Ace Norton Best Fashion Michelle Phan New Icon Award Adrien Servadio Best Visual Effects Louis Bergogne Best Cinematography fu Josh Brandao Silver Girl Luis Barreto Carrillo & Amber Moelter Best Documentary Lykki Li Best Music Robert E Ball Jr Best Editing Mika Ceron Best Creative Concept Maison Antornio Urzi Best Costume Design Tony Herebia & Alejandra Catalina Garcia & Iyalode Studio Best Mak

HOMEWARD Triple winners  La Jolla International Fashion Film Festival.
Sasha Koehn, Justin Bain, Ari Schneiderman. Phillip Montgomery, Josh Franer

Simone Cipriani and Chloe Muka
Ethical Fashion Initiative

Multi-award winner film director Indrani Pal-Chaudhuri and
Fred Sweet, founder of La Jolla Int. Fashion Film Festival

To see pictures of awards night  follow me in Facebook

 

ROGER DEAKINS RECEIVES PIERRE ANGENIEUX EXCELLENS AWARD

 Pictured (L-R) Claude Girard, Producer Edward McDonnell, Canadian cultural journalist Tanya Lapointe, Canadian director Denis Villeneuve  (with Sicario movie in competition this year), French Actress Irène Jacob, Polish writer & director Agnieszka Holland, DoP Roger Deakins with his wife James, Thales Angénieux President Pierre Andurand.

 During the 68th annual Cannes Film Festival, Angénieux paid tribute to Roger Deakins BSC, ASC on May 22nd, 2015 at the third edition of the Pierre Angénieux Excellens in Cinematography ceremony. This award spotlights the work of Directors of Photography with past honorees including Philippe Rousselot AFC, ASC in 2013 and Vilmos Zsigmond HSC, ASC in 2014.

At the ceremony, a prestigious delegation composed of directors, producers, actors and actresses involved in Roger Deakins' career came to express their respect and appreciation. Guests included directors Joel and Ethan Coen (Deakins photographed eleven of their movies), director Agnieszka Holland (Deakins worked on The Secret Garden), director Denis Villeneuve (Deakins was involved in Prisoners, Sicario, which was in Competition this year at Cannes and the upcoming Blade Runner project), actresses Frances Mc Dormand and Irène Jacob and actor Jake Gyllenhall. Thierry Frémaux, Délégué Général of the Festival, Mike Eyle, a governor on the Board of the BSC and Richard Andry, Vice President of the AFC, also expressed their admiration to Roger Deakins and his contribution to cinema.

 Thales Angénieux President, Pierre Andurand, presented Roger Deakins 
 with an Optimo 45-120mm zoom lens specially engraved with his name. 
Following the ceremony, a dinner was held at La Plage du CNC, 
where singer Melissa Laveaux performed a 

private concert for a hundred of Angenieux’s guests.

Angenieux's Pierre Angenieux Excellens in Cinematography Award: 

an Angénieux Optimo 45-120 zoom lens specially engraved to Roger Deakins

 Roger Deakins receives the Pierre Angénieux Excellens Lifetime Achievement Award

 for Cinematography at 2015 at Cannes Film Festival. 

Pictured (L-R) Agnieszka Holland, James Deakins, Roger Deakins,
Ethan Cohen and Frances Mc Dormand

 Roger Deakins, known for several collaborations with the Coen Brothers, has worked with many directors including Tim Robbins, Martin Scorcese, Sam Mendes, Denis Villeneuve and Angelina Jolie. He has been a part of an incredible number of movies that are today monuments of cinema such as Barton Fink, The Shawshank Redemption, Fargo, Kundun, The Big Lebowski, O Brother, Where Art Thou?, The Man Who Wasn't There, The Assassination of Jesse James, No Country for Old Men, The Reader, True Grit, Skyfall and Prisoners.

Actress Irene Jacob, James Deakins, DP Roger Deakins, Director Denis Villeneuve 
and Tanya Lapointe attend the Premiere of "Sicario" during 
the 68th annual Cannes Film Festival

Along with the tribute presented to Roger Deakins, Angénieux was also particularly present at this Cannes Festival through a wide number of movies shot with Angénieux lenses. Below is a list of movies screened at Cannes and shot with Angénieux lenses:


Out-of-Competition and special Screenings
La Tête Haute by Emmanuelle Bercot -DP Guillaume Schiffman AFC
Mad Max: Fury Road by Georges Miller -DP John Seale
Une Histoire de Fou by Robert Guédiguian - DP Pierre Milon AFC

Official Selection / In Competition
Dheepan de Jacques Audiard – DP Eponine Momenceau – Palme d’Or
Mon Roi by Maïwenn - DP Claire Mathon AFC
Youth by Paolo Sorrentino - DP Luca Bigazzi

For more information about the Pierre Angénieux Excellens Lifetime Achievement Award for Cinematography and lenses visit  http://www.angenieux.com/

FESTIVAL DE CANNES 2015 TV LIVE WEBCAST

The 68th Festival de Cannes Awards

FESTIVAL DE CANNES  2015 

SEE HIGHLIGHTS OF THE FESTIVAL HERE! 

Official Selection 2015

Competition
    CAROL    Directed by Todd HAYNES  
    CHRONIC    Directed by Michel FRANCO  
    DHEEPAN    Directed by Jacques AUDIARD   PALM d'or
    IL RACCONTO DEI RACCONTI (TALE OF TALES)    Directed by Matteo GARRONE  
    LA LOI DU MARCHÉ (THE MEASURE OF A MAN)    Directed by Stéphane BRIZÉ  
    LOUDER THAN BOMBS    Directed by Joachim TRIER  
    MACBETH    Directed by Justin KURZEL  
    MARGUERITE & JULIEN    Directed by Valérie DONZELLI  
    MIA MADRE (MY MOTHER)    Directed by Nanni MORETTI  
    MON ROI    Directed by MAÏWENN  
    NIE YINNIANG (THE ASSASSIN)    Directed by HOU Hsiao-Hsien   BEST DIRECTOR
    SAUL FIA (SON OF SAUL)    Directed by László NEMES   GRAND PRIX 
    SHAN HE GU REN (MOUNTAINS MAY DEPART)    Directed by JIA Zhang-Ke  
    SICARIO    Directed by Denis VILLENEUVE  
    THE LOBSTER    Directed by Yorgos LANTHIMOS  JURY PRIZE
    THE SEA OF TREES    Directed by Gus VAN SANT  
    UMIMACHI DIARY (OUR LITTLE SISTER)    Directed by KORE-EDA Hirokazu
    VALLEY OF LOVE    Directed by Guillaume NICLOUX  
    YOUTH    Directed by Paolo SORRENTINO  

Un Certain Regard
    ALIAS MARÍA (ALIAS MARIA)    Directed by José Luis RUGELES GRACIA  
    AN    Directed by Naomi KAWASE  
    CHAUTHI KOOT (THE FOURTH DIRECTION)    Directed by Gurvinder SINGH  
    COMOARA (THE TREASURE)    Directed by Corneliu PORUMBOIU 
    Uncertain Talent Prize 
    HRÚTAR (RAMS)    Directed by Grímur HAKONARSON  Grand Prix
    JE SUIS UN SOLDAT (I AM A SOLDIER)    Directed by Laurent LARIVIÈRE  
    KISHIBE NO TABI (JOURNEY TO THE SHORE)    
     Directed by KUROSAWA Kiyoshi  Best Director
    LAMB    Directed by Yared ZELEKE  
    LAS ELEGIDAS (THE CHOSEN ONES)    Directed by David PABLOS  
    MADONNA    Directed by SHIN Su-Won  
    MARYLAND (DISORDER)    Directed by Alice WINOCOUR  
    MASAAN    Directed by Neeraj GHAYWAN  
    MU-ROE-HAN (THE SHAMELESS)    Directed by OH Seung-Uk  
    NAHID    Directed by Ida PANAHANDEH  
    RAK TI KHON KAEN (CEMETERY OF SPLENDOUR)
     Directed by Apichatpong WEERASETHAKUL  
    TAKLUB    Directed by Brillante MENDOZA  
    THE OTHER SIDE    Directed by Roberto MINERVINI  
    UN ETAJ MAI JOS (ONE FLOOR BELOW)    Directed by Radu MUNTEAN  
    ZVIZDAN (THE HIGH SUN)    Directed by Dalibor MATANIC   Jury Prize


Short films in Competition
    AVE MARIA    Directed by Basil KHALIL   
    COPAIN (BUDDY)    Directed by Jan ROOSENS, Raf ROOSENS   
    LE REPAS DOMINICAL (SUNDAY LUNCH)    Directed by Céline DEVAUX   
    LOVE IS BLIND    Directed by Dan HODGSON   
    PATRIOT    Directed by Eva RILEY   
    PRESENTE IMPERFECTO (PRESENT IMPERFECT)  Directed by Iair SAID   
    SALI (TUESDAY)    Directed by Ziya DEMIREL   
    THE GUESTS    Directed by Shane DANIELSEN   
    WAVES '98    Directed by Ely DAGHER

COMPLETE LIST OF WINNERS

FEATURE FILMS - COMPETITION

Palme d'or
DHEEPAN by Jacques AUDIARD

Grand Prix
SAUL FIA (Son of Saul) by László NEMES

Best Director Award
HOU Hsiao-Hsien for NIE YINNIANG (The Assassin)

Jury Prize
THE LOBSTER by Yorgos LANTHIMOS

Best Actress Award
Rooney MARA in CAROL by Todd HAYNES
Emmanuelle BERCOT in MON ROI by MAÏWENN

Best Actor Award
Vincent LINDON in LA LOI DU MARCHÉ (The Measure of a Man) by Stéphane BRIZÉ

Best Screenplay Award
Michel FRANCO for CHRONIC

SHORT FILMS - COMPETITION

Palme d'or
WAVES '98 by Ely DAGHER

CAMÉRA D’OR
LA TIERRA Y LA SOMBRA by César Augusto ACEVEDO presented during La Semaine de la Critique

The Jury of the CST has awarded the VULCAN AWARD OF THE TECHNICAL ARTIST to:
Tamas ZANYI, sound engineer, for the outstanding contribution of sound to the narration of SAUL FIA (Son of Saul) by László NEMES.

The director and French artist, Agnès VARDA, received an honorary Palme d'or for her collected works from Jane Birkin. The closing film La Glace et le Ciel (Ice and the Sky) by Luc Jacquet was screened at the end of the Ceremony.

PETER SUSCHITZKY ASC, LIVE FROM CANNES FILM FESTIVAL

This is a webcast from  Cannes Film Festival with  renowned cinematographer Peter Suschitzky ASC. The webcast  provides a unique opportunity to hear the master cinematographer talk about his distinguished creative journey and his experience this year as he joins the judging panel of La Semaine de la Critique at Festival De Cannes. 

Peter Suschitzky has been shooting films since 1964, notably alongside David Cronenberg. His impressive filmography includes Star Wars Episode V: The Empire Strikes Back, Mars Attacks!, Naked Lunch, Crash, After Earth shot on the F65 and, most recently, Maps to the Stars shot on the F55. 

By producing  this worldwide webcast interview,  Sony UK continues its commitment to the movie industry.