A chrome Leica III in Wolfgang Petersen’s Das Boot, 1981. The actor Herbert Grönemeyer shoots with it in a couple of scenes and also has the lens off in one scene, wiping down the body.
The scene in Billy Wilder’s Stalag 17 when the fellow prisoners of Barracks Four open up Sefton’s foot locker. Among the goodies are a couple of Leica III’s (with collapsible Elmars) mounted on the inside of the box’s lid.
Identification of the bodies and lenses comes from the invaluable geek resource, Andrew Nemeth’s Leica FAQ
People copy, people steal. Most of the pictures they make nowadays are loaded down with special effects. I couldn’t do that. I quit smoking because I couldn’t reload my Zippo.
Jack Nicholson using a Leica III/A and VIDOM finder in Chinatown.
Each time I see any of my movies, there are plenty of things that I would like to change. It doesn’t mean that the movie would be any better. For example, when Gittes is photographing on the roof, the couple downstairs, and I wanted to see the reflection of it in the lens of his Leica. I was hesitating a lot and discussing it, which way to put it, put it upside down or the way it is, in the lens normally it should reflect upside down. And I thought for the audience’s sake, we won’t put it upside down. Today, I would definitely put it upside down.
A silver Leica M7, with a 35mm summilux; Vicky Cristina Barcelona, 2008, Woody Allen.
Where’s that damn lens hood?
In the movie “Blood Diamond”, Jennifer Connelly portrays a journalist and occasionally breaks out her black M6 Classic and a 35 Summicron to take photos. Annoyingly, the sound editors dubbed in the sound of an SLR firing instead of the sound of a Leica click.
Yes, I am a geek.
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