I WAS @JOEWRIGHT @rogerdeakinsdp - Tumblr Blog

blckgirlacid

Doing weird stretches in your room is so important.

acecroft

A Good Year (2006) dir. Ridley Scott

#a good year

dailyflicks

They called it "The Fog That Stole Souls." Widow's Bay (2026) ⇁ Episode 1: Welcome to Widow's Bay

#widow's bay #thank you for tagging me!#\

kosmogrl

the thing is, it’s never too late for anyone to start over except me. I’m doomed and it’s over for me

stars-bean

Barbie (2023) dir. Greta Gerwig

#barbie #thank you for tagging me!

rogerdeakinsdp

Academy Award Winners for Best Cinematography: 1992 — Robert Richardson, ASC JFK (1991) Directed by Oliver Stone Aspect Ratio: 2.39 : 1

Written as a “jigsaw” and “a fragmentation of reality,” Stone wanted the visuals to be equally fractured — “anything that would dent the narrative,” he says. Black-and-white 16mm and 35mm re-create events on Dealey Plaza and in government back rooms; shots on 8mm color echo the Zapruder film; video, archival footage, and news photographs come into play, plus different styles of shooting. “Bob [Richardson] had a documentary background, which we used a lot in Salvador, but we’d refined it by the time we got to JFK,” says Stone. “The suggestions for all the visual stocks and things to make it more fragmented, a lot of that came from Bob and from the editors. It was a hectic shoot, very hectic.” — The American Society of Cinematographers, February 2019

#sr

Academy Award Winners for Best Cinematography: 1992 — Robert Richardson, ASC JFK (1991) Directed by Oliver Stone Aspect Ratio: 2.39 : 1

Written as a “jigsaw” and “a fragmentation of reality,” Stone wanted the visuals to be equally fractured — “anything that would dent the narrative,” he says. Black-and-white 16mm and 35mm re-create events on Dealey Plaza and in government back rooms; shots on 8mm color echo the Zapruder film; video, archival footage, and news photographs come into play, plus different styles of shooting. “Bob [Richardson] had a documentary background, which we used a lot in Salvador, but we’d refined it by the time we got to JFK,” says Stone. “The suggestions for all the visual stocks and things to make it more fragmented, a lot of that came from Bob and from the editors. It was a hectic shoot, very hectic.” — The American Society of Cinematographers, February 2019