Would you ever consider doing a sort of Best 50 Cinematographers? Even if there's no particular order?
Top 50 Cinematographers
…mind you i hate some of these films but may like the way its lit/framed & appreciate their process
Agnès Godard (Beau Travail, 35 rhums, Friday Night, J’ai pas sommeil) Alex Nepomniaschy (Safe) Nelson Yu Lik-wai (Platform, A Touch of Sin) Ernest R. Dickerson (Do the Right Thing) Adam Arkapaw (Top of the Lake, True Detective) Maya Deren (Meditation on Violence, The Very Eye of Night) Mark Irwin (Videodrome) Arthur Jafa (Daughters of the Dust, Crooklyn) Asakazu Nakai (Seven Samurai, Ran) Robby Müller (Mystery Train, Down by Law, Repo Man) Natasha Braier (The Rover) Malik Hassan Sayeed (Wildcat, Clockers) Stéphane Fontaine (Un prophète, The Beat That My Heart Skipped) Sayombhu Mukdeeprom (Syndromes and a Century, Blissfully Yours) Hoyte Van Hoytema (Tinker Tailor Soldier Spy, Her) Mihai Malaimare Jr. (The Master, Tetro) Jacques Besse (The Little Girl Who Sold the Sun) Alwin H. Küchler (Morvern Callar, Ratcatcher) Huai-en Chen (A City of Sadness) Sven Nykvist (Cries & Whispers, Offret, Persona) Mitsuji Kanau (Black Sun) Gordon Willis (The Parallax View, Klute, Godfather I/II) Robbie Ryan (Wuthering Heights, Fish Tank) Christopher Doyle (The Limits of Control, Days of Being Wild) Robert Elswit (There Will Be Blood) Bradford Young (Mother of George, Ain’t Them Bodies Saints) Alexander Hammid (Meshes of the Afternoon, At Land) Jordan Cronenweth (Blade Runner) Otello Martelli (La Dolce Vita, La Strada) Nicolas Karakatsanis (Bullhead) Roger Deakins (The Man Who Wasn’t There, Jesse James) Michael Chapman (Taxi Driver, Raging Bull) James Wong Howe (Seconds, Sweet Smell of Success) Yorick Le Saux (Only Lovers Left Alive, Carlos) Ping Bin Lee (Café Lumière, Norwegian Wood) Tak Fujimoto (Devil in a Blue Dress, Badlands) Georges Bracher (Touki Bouki) Marc-André Batigne (The Time that Remains) Georgi Rerberg (The Mirror) Sergey Urusevskiy (Soy Cuba) Alexis Zabe (Post Tenebras Lux) Kazuo Miyagawa (Yojimbo, Ugetsu) Ron Fricke (Baraka, Samsara) Vittorio Storaro (The Conformist, Apocalypse Now, Novecento) Greig Fraser (Killing Them Softly) Emmanuel Lubezki (The Tree of Life) Gianni Di Venanzo (8½, La Notte, The 10th Victim) Owen Roizman (Network, Straight Time) Chan Chang (The Terrorizers) Yoshio Mamiya (The Warped Ones, Thirst for Love)
(robert richardson, ellen kuras)
i like slow film stock & the anamorphic format a lot of these plp use one or the other
EDIT: not favs but important> (subrata mitra, jack cardiffs)
The Master Paul Thomas Anderson, 2012, USA The signs of postwar prosperity one assumes to find in Paul Thomas Anderson’s latest picture are hardly seen or felt, their idealized prevalence merely implied along the edges of bright deserts, churning seas, and private interiors. Devoid of baby-boom and Levittown comforts, Anderson’s rendition becomes a bizarrely prototypical reflection of an impressionable era’s aspiration for intellectual dominion over vice. This American-dream complacency hovers just outside the insular fold of a high-profile cult-like group, The Cause, whose dogma and psychology are what The Master aims to confront. The susceptible are drawn to their pursuit of human perfection lead by the piggish and charismatic Lancaster Dodd, who gladly subjects his followers to purging sessions of deep and hypnotic questioning. Wallowed on the formidable and compulsive Freddie Quell, a perpetually drunk and rejected veteran, this treatment offers him catharsis from the consequences of his troublesome past and a safe haven from dissolution. Freddie is a mesmerizing jigsaw of crass mammalian impulses, human mistakes, and alarming sincerity so genuine and rare it grows into Lancaster’s doctrinal obsession and the baneful threat to the hidden authority Lancaster’s deceptively subservient wife upholds. The unassimilable Freddie, doomed to remain an apparition, is chasing the comfort and belonging offered by Lancaster’s circle whose bored leader, seeking the thrill of conquer again, chases the valor and immunity to conform Freddie innately possesses. The Master plays like their shared and compellingly painful, disordering fever, and Anderson follows his instincts like never before to denounce the quest for removing oneself from oneself. His latest is as much about an elusive time and place as it is about a contradictory and recurrent pull between two men, craving and repelling what the other one has, who serve as one another’s provision and poison.