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Death to Post-Credits Scenes, Zsigmond and Papamichael On Cinematography, and Lav Diaz Retrospective

Written by on May 30, 2014 


Dailies is a round-up of essential film writing, news bits, and other highlights from our colleagues across the Internet — and, occasionally, our own writers. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

The most complete American retrospective of Lav Diaz‘s filmography to date is coming to Film Society at Lincoln Center this summer.

At The Dissolve, Matt Singer calls for the death of post-credit scenes:

The single most important line of dialogue in any Hollywood movie of the last 10 years appeared after a film had already ended. After Iron Man’s Tony Stark saves his company, defeats the bad guy, reveals his secret identity, and then endures about 12 minutes of closing credits, the movie resumes with Robert Downey Jr.’s Stark returning home, where he’s greeted by an unexpected visitor—one who hadn’t appeared in the rest of the film.

At Filmmaker Magazine, Kaleem Aftab interviews legendary cinematographer Vilmos Zsigmond:

Today we are in difficult times because of digital photography. It’s a new style, but a lot of filmmakers lack artistic ideas. I don’t know why. You just turn this camera on, the image is already there, and they want to shoot that, not thinking about what the scene is about, whether it is dark or light. The only thing that they can basically do if they don’t light something like that is to do it in post. To have the artistry in post, it is not the same as doing it in real life when they are shooting it. You have to know what the story is about. If you don’t do that, you can make average looking movies and that is not what I like to see from other people. I still think there is such a thing as classics of cinematography and I like to keep that going on for as long as we can and try to teach the students that even in digital photography with the right exposure, you still have to use the lights to tell the story.

Watch a 20-minute profile on cinematographer Phedon Papamichael:

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