Articles Tagged with: Film
Alex Cox | A Spaghetti Western Roundup

The great Alex Cox has written an article for the New York Times for the current mini-festival of Spaghetti Westerns at the Film Forum here in NYC. Click here for the article and click here for more about Alex Cox.

The future is always a dystopia in movies.

– Alex Cox

Cjamango (1967)

Cjamango (1967)


Stanley Kubrick | Barry Lyndon
Barry Lyndon, 1975

Barry Lyndon, 1975

He was obviously always a step ahead of me. He called me one, I remember I was at Warner’s, I think it was around the time he was getting ready to do Lyndon, and he said, ‘Do you have any of those special BNC cameras that we used for rear process?’ I said, ‘Why?’ He said, ‘For sentimental reasons. I started out on them. I’d love to buy one from you if I could get one.’ So I called the camera department and I said, ‘Do you have any of those?’ And they said, ‘We’ve got a couple of those.’ I called Stanley back….He said, ‘I’d love to get those cameras. I admire the workmanship.’ I said, ‘Great,’ and sent him one of those, or maybe two of them, I can’t remember.

About six months later, Gottschalk, who ran Panavision for us, and who was a certified camera and optical genius, called and said: ‘Why are you sending those rear-projection cameras to Stanley Kubrick?’ I said, ‘Because he asked for them. I mean, they sit down there, we don’t use rear-projection anymore. We’re doing front-projection.’ He said, ‘They’re priceless, they are the most fantastic works ever put into a camera. They are brilliantly conceived and brilliantly executed camera works. You could never build a camera like it if your life depended on it. I want to get everyone I can, because I can’t duplicate the work that went into them.’

Stanley had anticipated it and acquired them and built his own cameras!

– John Calley, Former President of Warner Bros., CEO of Sony Pictures

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

He looked for the old-fashioned Mitchell BNC cameras for a very specific reason. These were the only cameras, to his knowledge, where he had a chance of fitting these big Zeiss lenses.

– Jan Harlan, Executive Producer

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

And Stanley sent me this lens and said, could I mount it on his BNC camera? I said it’s absolutely impossible because the BNC has two shutters, a thick aperture plate, and all that between the film plane and the rear element of the lens. And so I explained that to Stanley and said we’d have to damn near wreck your camera and make it purely dedicated to do this. And he said, ‘Fine, go ahead and do it.’

It was originally a lens designed, developed, and manufactured by Zeiss for NASA. NASA was planning to use it in satellite photography. For that reason, it’s an extremely fast lens. It’s an f0.7 which is two stops faster than lenses that are even available today. Of course Stanely’s intention for these lenses was to shoot the famous candlelit scenes in Barry Lyndon. That being the case, he shot with the lenses wide open, f0.7. The consequence of that, he had practically no depth of field at all. It was quite a chore to do it, but of course the images were absolutely gorgeous.

– Ed Di Giulio, Cinematographer

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975


Baptiste Léonne | Hotel Girls

To view more of Baptiste Léonne’s work, click here.

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne

Hotel Girls © Baptiste Léonne


Sante D’Orazio | A Private View

What happened to Sante?

13 years ago when his book A Private View came out, he was the shit, at the top of his game and the industry, gracing the covers of all the major magazines, shooting choice editorials with the top celebrities and models at the time.

I rarely see his name these days and the editorials I do see feature second-tier subjects. His work used to be so playful, sensual and light. There was a warmth in his portraits and a lushness in his black & white work. Some of the recent work that I’ve seen is flat and cold, and very anonymous.

Regardless, his book A Private View is a shooting diary of his work with some personal notes, outtakes, and lists of films shot. It is a book full of charm and beauty.

Kate Moss © Sante D'Orazio, A Private View

Kate Moss © Sante D'Orazio, A Private View

Kate Moss © Sante D'Orazio, A Private View

Kate Moss © Sante D'Orazio, A Private View

Kate Moss © Sante D'Orazio, A Private View

Kate Moss © Sante D'Orazio, A Private View

Christy Turlington © Sante D'Orazio, A Private View

Christy Turlington © Sante D'Orazio, A Private View

Christy Turlington © Sante D'Orazio, A Private View

Christy Turlington © Sante D'Orazio, A Private View

Christy Turlington © Sante D'Orazio, A Private View

Christy Turlington © Sante D'Orazio, A Private View

Julian Schnabel © Sante D'Orazio, A Private View

Julian Schnabel © Sante D'Orazio, A Private View

Julian Schnabel © Sante D'Orazio, A Private View

Julian Schnabel © Sante D'Orazio, A Private View

Carla Bruni © Sante D'Orazio, A Private View

Carla Bruni © Sante D'Orazio, A Private View


Marc Riboud | Chartres, France 1953
Chartres, France 1953 © Marc Riboud

Chartres, France 1953 © Marc Riboud

The idea of photography as evidence is pure bullshit. A photo is no more proof of any reality than what you may hear being said by someone in a bus. We only record details, small fragments of the world. This cannot allow any judgement, even if the sum of these details may convey a point of view.

– Marc Riboud