Dan Laustsen: Celebs Rumors

Why do movies look so bad?” is a main point of online media discourse, Lionsgate’s “John Wick” franchise stands out not just because of its genre elements, but because each sequel raises the stakes in terms of raw production value and cinematic splendor.The latest movie, “John Wick: Chapter 4,” takes place not in empty warehouses, poorly lit apartments or barely populated streets, but in bustling and beautiful locales worldwide. Even an extended exposition sequence deigns to take place in a gorgeous art museum where supporting characters rattle off plot points while walking in front of giant paintings.Considering the constant challenges of delivering big-screen spectacle while working under COVID-specific restrictions, as well as having a budget that is large but well below the stereotypical MCU installment, TheWrap wanted to know how and why “John Wick: Chapter 4” looks like one of the most visually beautiful Hollywood action movies ever made.Cinematographer Dan Laustsen, who also shot the last several live-action Guillermo del Toro films, focused on making a visually spectacular action-adventure movie that blended arthouse razzle-dazzle with grindhouse action.

Jazz Tangcay Artisans Editor Director Blitz Bazawule had a clear vision of what he wanted Shug Avery (Taraji P. Henson) to represent in “The Color Purple.” She was a bold, sexy, beautiful and extraordinary woman, but she was also loving and nurturing to Celie (Fantasia Barrino) and Sophia (Danielle Brooks). “Those were her sisters and there was a bond there,” Tym Wallace, the film’s makeup and hair department artist explains.

Jazz Tangcay Artisans Editor “The Color Purple” director Blitz Bazawule hesitated to take on the latest incarnation of Alice Walker’s sacred text. However, when he revisited the book, the first line (“Dear God, I’m 14 years old”) struck him as a way to navigate a familiar story and “keep expanding Celie’s imagination.” In the new musical movie adaptation, as Celie (Fantasia Barrino) is bathing Shug (Taraji P. Henson), an old record plays on a gramophone in the background.

this year’s CinemaCon that director Blitz Bazawule’s musical adaptation of Alice Walker’s novel is “not your Mama’s ‘Color Purple’,” and based on the first trailer, she’s right. Warner Bros.

John Wick is back. And he’s ready to kick your ass.“John Wick: Chapter 4” doesn’t debut until March 24, 2023, but a brand-new trailer has been unleashed, revealing more about what the super sequel will have in store for audiences next spring.

At the 94th Academy Awards, Dune‘s Greig Fraser landed his first Oscar for Best Cinematography, joking that he was happy his award was up early in the broadcast, so that he could “get out and get to the bar.”

**WINNER.Feature FilmBruno Delbonnel, ASC, AFC for “The Tragedy of Macbeth”** WINNER Greig Fraser, ASC, ACS for “Dune”Dan Laustsen, ASC, DFF for “Nightmare Alley”Ari Wegner, ACS for “The Power of the Dog”Haris Zambarloukos, BSC, GSC for “Belfast”SpotlightRuben Impens, SBC for “Titane”** WINNER Pat Scola for “Pig”Adolpho Veloso, ABC for “Jockey”Documentary** WINNER Jessica Beshir for “Faya Dayi”Isabel Bethencourt and Parker Hill for “Cusp”Daniel Schönauer for “The Hidden Life of Trees”Motion Picture, Limited Series, or Pilot Made for TelevisionSteve Annis for “Foundation” – Pilot Episode: “The Emperor’s Peace”Tim Ives, ASC for “Halston” – Episode: “The Party’s Over”** WINNER James Laxton, ASC for “The Underground Railroad” – Episode: “Chapter 9: Indiana Winter”Christophe Nuyens, SBC for “Lupin” – Pilot Episode: “Chapter 1”Ben Richardson, ASC for “Mare of Easttown” – Episode: “Illusions”Episode of a One-Hour Television Series – Non-CommercialStuart Biddlecombe for “The Handmaid’s Tale” – Episode: “The Wilderness”David Garbett for “Sweet Tooth” – Episode: Big ManDavid Greene, ASC, CSC for “Chapelwaite” – Episode: “The Promised”** WINNER Jon Joffin, ASC for “Titans” – Episode: “Souls”Boris Mojsovski, ASC, CSC for “Titans” – Episode:“Home”Kate Reid, BSC for “The Nevers” – Episode: “Hanged”Episode of a One-Hour Television Series – CommercialThomas Burstyn, CSC, NZSC for “Snowpiercer” – Episode: “Our Answer for Everything”** WINNER Tommy Maddox-Upshaw, ASC for “Snowfall” – Episode: “Weight”Ronald Paul Richard for “Riverdale” – Episode: “Chapter Eighty-Nine: Reservoir Dogs”Brendan Steacy, CSC for “Clarice” – Episode: “Silence is Purgatory”David Stockton, ASC for “Mayans M.C.” – Episode: “The Orneriness of Kings”Gavin Struthers,

The American Society of Cinematographers is framing it 36th annual ASC Awards tonight, and Deadline is updating the winners as they’re announced. See the list below.

Adam Stockhausen and Rena DeAngelo Production design, “West Side Story” The tremendous production design of “West Side Story” drew me into the story like nothing else I saw last year. Steven Spielberg’s remake rewrites the script of the musical, incorporating the looming demolition of the San Juan Hill neighborhood for the construction of Lincoln Center.

Tim Gray Senior Vice PresidentSearchlight’s “Nightmare Alley” has four well-deserved Oscar nominations: production design, Tamara Deverell, Shane Vieau; costume design, Luis Sequeira; cinematography, Dan Laustsen; and best picture.And while filmmaking greats including Martin Scorsese have praised “Alley,” some audiences were caught off-guard because it isn’t what they expected from Guillermo del Toro, who is director, co-writer and one of the three Oscar-nominated producers.“It’s the first film of a different period in my life,” del Toro tells Variety, marking a new style and outlook. The film is also physically beautiful.

On Tuesday, The Power of the Dog‘s Ari Wegner became the second woman ever to receive an Oscar nomination for Best Cinematography.

When costume designer Louis Sequeira got the call from Guillermo del Toro to start working on “Nightmare Alley,” he didn’t have to go far to begin researching the 1930s set project. A self-described hoarder, he’d been collecting visual references for decades.

The American Society of Cinematographers on Tuesday unveiled nominations for its 36th annual ASC Awards, honoring the year’s best in feature film, documentary and television cinematography.

Tim Gray Senior Vice PresidentIn April 2019, the Academy of Motion Picture Arts & Sciences board of governors decided to change the name of the foreign-language-film category, saying it was “outdated within the global film community.” So they renamed it “international film.” It’s better, but still not precise: All films are international, whether they’re in English or not. This year’s Academy Awards race provides many reminders of that fact.Several 2021 Oscar contenders seem like all-American films, such as “West Side Story,” though the cinematographer is Janusz Kaminski, from Poland; “Nightmare Alley” boasts DP Dan Laustsen (Denmark), editor Cam McLauchlin and production designer Tamara Deverell (both Canada), not to mention director Guillermo del Toro (Mexico) and stars Cate Blanchett and Toni Collette (both from Australia).

“Nightmare Alley,” a new adaptation of the 1946 William Lindsay Gresham novel of the same name, is perhaps the greatest showcase of his world-building talents so far – as attested to by in the above video by actress Toni Collette, who’s featured in the film as a carnival clairvoyant named Madame Zeena.“Every frame blows my mind,” says Collette. “It’s so exquisite and rich and so saturated.