Excerpts from an interview with David Dryer, one of three special photographic effects supervisors for Blade Runner along with Douglas Trumbull and Richard Yuricich
“Films usually attempt to do the future by presenting a rather bleak, pristine, austere, clean look. It could go that way, but I’ve got a feeling it’s going to go the other way.” Ridley Scott is discussing his approach in directing Blade Runner, a detective thriller set forty or fifty years in the future.
Interview with Director of Photography John Alcott Among all the film-makers of the world, there is no one quite like Stanley Kubrick. To be more
Pierre Lhomme, recalls his work on “Army of Shadows”, Jean-Pierre Melville’s 1969 masterpiece about the French Resistance
August 1980 issue of American Cinematographer magazine, including an interview with John Alcott and an article on the use of Garrett Brown’s invention, the steadicam, in The Shining.
September 1987 issue of American Cinematographer, detailing the making of Stanley Kubrick’s film ‘Full Metal Jacket’.
Stanley Kubrick’s cinematic collaborators recall the man and his very unique methods
Cinematographer Larry Smith helps Stanley Kubrick craft a unique look for Eyes Wide Shut, a dreamlike coda to the director’s brilliant career
Director Stanley Kubrick lent a learned eye to A Clockwork Orange, enlisting lighting cameraman John Alcott, BSC to help create a bleak dystopian futurescape