Powell and Pressburger
Fuck Yeah The Archers
VIA QUIXOTANDO: AMOLAD set
(Source: philopompy)
![[About A Matter of Life and Death] and then David Niven strolled on the set and strolled off with the part. - Michael Powell, A Life in Movies](http://24.media.tumblr.com/tumblr_lfk549OA8h1qcd4jmo1_1280.png)
[About A Matter of Life and Death] and then David Niven strolled on the set and strolled off with the part. - Michael Powell, A Life in Movies
(Source: joan-webster)
‘I was on the second unit, which was very boring. But one shot I had to do was a number of animals’ heads on the wall, which was much more interesting but very complicated. But I had all the time in the world and apparently it must have looked all right. As I was shooting I heard a voice behind me say, ‘Very interesting’. I looked round and there was Michael Powell. He said, ‘Would you like to photograph my next film?’ And that was it!’ - Jack Cardiff,
(Source: joan-webster)
Stills from Black Narcissus (1947), directed by Michael Powell, Emeric Pressburger.
I like the lighting techniques, especially the cookies and cut-outs. Very theatrical.
Stills from Black Narcissus (1947), directed by Michael Powell, Emeric Pressburger.
I like the lighting techniques, especially the cookies and cut-outs. Very theatrical.
(via witzseeker)
Jack Cardiff, Michael Powell and David Niven
The Red Shoes by Cornel Lucas, 1947
“When this image was taken, it was accepted practise for a stills photographer to use a large plate camera. Someone would shout, “Pause for stills!” and the actors would recreate their poses from the previous scene. It was impossible to take photographs while actors were filming because, apart from anything else, the microphones would catch the sound of the shutter.
But for The Red Shoes I wanted to capture the dance itself, and I knew that a plate camera would be a wholly impractical tool for the job. Moreover, it was obvious that should I request that Moira Shearer and Robert Helpmann strike a static pose and then hold it for me, it simply would not convey the athleticism and movement that I wanted to capture. So I persuaded Micky Powell to let me use a 35mm camera to photograph these scenes. It is to his credit that he agreed, because at the time it was a very unusual format to use.
In reality, the soundtrack of the film was playing so loudly that no one could hear me clicking away on my little camera.
Michael Powell’s and Jack Cardiff’s work on The Red Shoes was considered by many in the industry to be truly groundbreaking, but the film was poorly served by the Rank Organisation in the UK. It’s pleasing indeed that the film has, across the years, gained the reputation that many of us felt that it deserved at the time - and nowadays regularly features at the head of many critic’s and movie fan’s ‘best of all time’ lists.”
