The movie camera has had a great power of seduction on directors.
Many of them ended up becoming filmmakers, cinematographers.
Sergei Eisenstein, Fritz Lang, Orson Welles, Michael Powell, George Stevens, David Lean, Stanley Kubrick, Akira Kurosawa, Sergio Leone, Jerry Schatzberg, Martin Scorsese, Brian De Palma, Claude Lelouch, Ridley Scott, Zhang Yimou, Alexander Sokurov, Paul Thomas Anderson, Wong Kar Wai, Pedro Almodovar, Johnny To, Michael Mann, Carlos Reygadas, Gus Van Sant, Victor Erice, Hou Hsiao Hsien, Luiz Fernando Carvalho, Christopher Nolan and Lisandro Alonso. Directors, photographers all.
And Steven Soderbergh for a: u not the best cameraman in Hollywood in 2011.
director Sex, lies and videotapes , The King of the Hill , Kafka , Underneath, avenge the blood (his best film), A romance dangerous, The Hoax , Traffic, Che and Argentine got tired of the ill business. The potential cut.
director Sex, lies and videotapes , The King of the Hill , Kafka , Underneath, avenge the blood (his best film), A romance dangerous, The Hoax , Traffic, Che and Argentine got tired of the ill business. The potential cut.
wanted to be right with God and the Devil.
"One for them one for you."
fought the law and lost
fought the law and lost
It is the best director-cinematographer of this hour.
Oscar Contreras Morales .-
On a sunny morning Venetian, with a cup of coffee in hand and the Wall Street Journal neatly folded on the table, Steven Soderbergh (1963, Atlanta) reflected on the future of cinema (the independent and studio) as if the matter was no longer with him, "new technologies and the use of home HD formats will open many doors to young filmmakers will now be able to work with minimal resources and operating outside the major interests of Hollywood. I think in general, are good news. "
conversation with this newspaper was in 2009 at the legendary Hotel Cipriani, on account of filing in The Informant Mostra. Nothing in his words indicated that the director planned to stand but he looked quite far from the young film buff who in 1989 walked excited about the Cannes festival Sex, Lies and Videotape under my arm (literally), delivered a his film as he has just met the love of his life.
There he met the Weinsteins, Miramax helped make a symbol of independent film (and a money machine) and began a meteoric career that was able to combine projects with a reservoir of craziness and big blockbusters blockbuster soul. Thus, if one side his face exploded with authorial The king of the hill , Schizopolis or Solaris the other eyes made him a Hollywood trilogy Ocean's Eleven, Erin Brokovich or Traffic . With the benefit of the one was actually the other, living their own life as a rebel with a camera but do not forget to make the bosses happy.
The thing is that yesterday's announcement of its withdrawal startled friends and strangers, as Matt Damon stated that although a few months ago that his pal and fellow party planned to drop everything and focus on other tasks, such comments are usual gossip of the day to day in the American film scene and normally respond to a hangover, a bad day or the promise of some free publicity, beneath the unyielding precept "to talk about an even wrong."
But Soderbergh's words to the Studio 360 website had a residue of bitterness that has little to do with the boutade to which we are accustomed to the other side of the Atlantic: "When you get to the point where you think if you have to return to ride the van, I'll stick to locate outside shot, it's time to leave the van to get others to which I really do hope. " Nothing contradictory messages or lessons on the inexorable evil that plagues the modern cinema, just the truth. The truth of a type tired of playing the same thing over and over again, as a technician involved in the cables of the machine that is supposed to make life easier. Those who saw the documentary that accompanied the special edition of Ché , released by Criterion in the U.S., and could warn Director's speech that the enthusiasm for his work had collapsed, tired of the ill will of the business and its infinite folds, incomprehensible and even to him, with thirty films to his back.
The filmmaker joins its name to the other directors with appellation of origin that one day decided they'd had enough. Arthur Penn, for example, professional titles such as Night Moves, Bonnie and Clyde or The Chase behind that of the overnight stop looking at the world through the camera to be passed to theater, cousin and intimate enemy of cinema, with whom I could talk without end in cuffs. He then moved on and left the cinema without leaving noisy decades of distance between film and film. Penn never needed any media to say goodbye, like Terrence Malick, another myth with sullen ways he retired for two decades (which separated the sky Days of The Thin Red Line) simply because it was not clear.
The most classic case of retirement (forced this time) he met in the twentieth century Hollywood called Billy Wilder. The author of bachelor apartment, Irma la Douce , Witness for the Prosecution , One, two, three , Sunset Boulevard or A two Adams Eve and stopped work in the '80s tired of having to explain who he was and what to tie to kids who did not exist when he was already considered a master of cinema. Since then quite a lot of veterans have failed to lead, including David Lynch warned though that was not going back to play a conventional film camera because the digital format seemed much more interesting has come, finally, for not doing one thing or another and now has five years without long.
That Hollywood is a grinder and it was clear, but few suspected that even a man with Soderbergh's waist, used to dribble in long and short and struggled in a thousand battles, end up throwing in the towel. At the moment the Atlanta provides complete The man from UNCLE. (Adapted from the TV series), Contagion and Liberace and final details of their upcoming release, Haywire, on a super-soldier betrayed that he decided to take justice into their own hands.
the moment the movie buff can take comfort knowing that Clint Eastwood has said that will never stop making films or Terrence Malick is back in style (his next film, The tree of life, will be screened at the Cannes Film Festival if everything goes as planned) and even the idea that if you want you can have the unfortunate German director Uwe Boll, whose firefighter last idea was to denounce the Berlinale for not allowing competition in the festival with his latest monstrosity, Auschwitz, let of filmmaking forever. It takes a million signatures, and have gotten more time of 360,000. Whoever does not is because they want comfort.
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