The former ASC nominee discusses working with two different filmmakers and two different 3D applications.
From 1997's "G.I. Jane" to the new "Alien" prequel "Prometheus," production designer Arthur Max has begun each of his eight films with director Ridley Scott the same way.
When Ridley Scott had questions about shooting "Prometheus," his long-awaited return to science-fiction and the world of "Alien," in stereoscopic 3D, he turned to d.p. Dariusz Wolski for answers.
uture offered new challenges for costume designer Yates
Scott assembles old collaborators and new d.p. for 'Prometheus'
Ridley Scott's first sci-fier in the three decades since "Blade Runner" remains earthbound in narrative terms, forever hinting at the existence of a higher intelligence without evincing much of its…
Stronger on dreamy, seedy atmosphere than on narrative coherence, FilmDistrict's exotic curio should draw the overlapping Depp/Thompson fanbases but will command general auds in, well, moderation.
Cinematographers fete their fellow filmmakers.
Here comes a new generation -- and some seasoned players -- advancing to higher-profile projects.
Pic has its moments of delight and bedazzlement, but it also becomes more ordinary as it goes along.
The paranoid strain in American suspensers proceeds into the terror era with "Eagle Eye," a thriller that imagines an all-seeing national government that even the most conspiratorial-minded viewers…