Favourite shot / piece of cinematography in spectre (spoilers though I think we've all seen it now)

in SPECTRE Posts: 948
1. Opening shot/Bond walking on the roof tops. Particularly how the angle subtle changes. It's in front when he comes down the steps bit, it's over the top to emphasise the jump between buildings. Masterful piece of craftsmanship

2 funeral scene. With the large crucifix on the far wall. Nicely constructed.

3. The walk to camera and madeliane reveal while waiting for the car in Morocco.

Although good Hoyte isn't in Deakins class imo. And the focus puller needs talking to. Some shots were out of focus badly. Most noticeable the close up of the ring when Mr White holds it.

Comments

  • MalloryMallory Are you ready to get back to work?
    Posts: 990
    Hoyte's cinematography is good, but when you've been spoilt by Deakins work, well, it was always going to be second place.

    As for favourite shots:

    + The Rome Section (all of it);
    + Ariel shot of the Hoffler Klinic, accompanied by Newman's soaring score.
    + The Rolls Royce travelling towards Blofeld's Moroccan lair;
    + The Boat / Helicopter chase along the River Thames.

    All of it looks pretty good imo. Couple of soft shots here and there though.
  • Posts: 1,010
    The 'Lawrence of Arabia' homage with the Rolls Royce appearing in the distance.

    Does the gun-barrel count?
  • BondJasonBond006BondJasonBond006 on fb and ajb
    Posts: 9,021
    Showing Bond from the mouse's perspective in Tangiers.

    White dot moving from left to right.

    Bond cocking his gun walking towards the camera at the train station in the desert.

  • mcdonbbmcdonbb deep in the Heart of Texas
    Posts: 4,116
    Showing Bond from the mouse's perspective in Tangiers.

    White dot moving from left to right.

    Bond cocking his gun walking towards the camera at the train station in the desert.

    Good ones..

    I don't know why ...maybe because I'm a RR fan too but the shot of the approaching Rolls across the desert just sticks in my mind.

    Like a chariot to impending doom.
  • GoldenGunGoldenGun Defender of Timothy Dalton, George Lazenby, Éric Serra & the Bond double bill of '83!
    Posts: 4,889
    When Bond is floating on a small boat on that Austrian lake towards White's hideout. Magnificent shot.
  • ThunderfingerThunderfinger Robotswana
    Posts: 38,606
    Donna Lucia outside her mansion, with the two killers taken care of by Bond who then walks up to her. Love those colours, how it is all framed and Bond coming into focus.

    Exquisite.
  • RC7RC7
    Posts: 10,432
    Donna Lucia outside her mansion, with the two killers taken care of by Bond who then walks up to her. Love those colours, how it is all framed and Bond coming into focus.

    Exquisite.

    Great scene, but the pull focus is off, I don't quite get what they were going for.

    My favourite still would be the wide of Bond looking out of the window of his room at ESB's lair.

    Favourite shot would be the (world record) explosion.
  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 16,159
    RC7 wrote: »

    Great scene, but the pull focus is off, I don't quite get what they were going for.
    The camera was focusing where the director wanted your attention to be. But guys being guys we were all staring at Monica, so that makes it seem like the focus was floating a little...
    :))
  • RC7RC7
    edited November 2015 Posts: 10,432
    chrisisall wrote: »
    RC7 wrote: »

    Great scene, but the pull focus is off, I don't quite get what they were going for.
    The camera was focusing where the director wanted your attention to be. But guys being guys we were all staring at Monica, so that makes it seem like the focus was floating a little...
    :))

    Ha ha.

    It is odd, though, right? There's a moment where Bond has a line of dialogue but it doesn't switch from Lucia. That would work if he were several feet behind, but he's on her shoulder and as it's got such a shallow depth of field it's quite a peculiar choice. Especially given they do actually then pull to Bond.
  • BondJasonBond006BondJasonBond006 on fb and ajb
    Posts: 9,021
    chrisisall wrote: »
    RC7 wrote: »

    Great scene, but the pull focus is off, I don't quite get what they were going for.
    The camera was focusing where the director wanted your attention to be. But guys being guys we were all staring at Monica, so that makes it seem like the focus was floating a little...
    :))

    Yes, I mean the audacity not to focus the camera the whole time on Bellucci !!
    Shame on you Mendes :))
  • GoldenballGoldenball United States
    Posts: 74
    I loved the shots of ESB crawling on the road trying to get away. The camera on the ground with him was exquisite.
  • Posts: 948
    That stuck out to me too @RC7 The focus flits back and forth but not consistently
  • mcdonbbmcdonbb deep in the Heart of Texas
    Posts: 4,116
    Second favorite is the back shot of Swann in her guest room at Blofeld's lair.

    Sorry me bad ...but umm that shot also stuck in my mind.
  • Posts: 183
    The shots of the train moving especially as darkness began to fell were beautiful.

    And the plane flying to the clinic shot was lovely too, one of the few times Mendes let the bright, crisp colours of the Alps shine through.
  • PropertyOfALadyPropertyOfALady Colders Federation CEO
    Posts: 3,496
    I liked when we saw the Aston weaving through the streets of Rome on the way to the funeral.
  • Posts: 443
    GoldenGun wrote: »
    When Bond is floating on a small boat on that Austrian lake towards White's hideout. Magnificent shot.

    It is indeed but unfortunately I found myself preferring the more sinister score which had accompanied the shot in the teaser trailer than Newman's music.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    Opening tracking shot. Noticing Sciarra in the crowd and then Bond and his girl. The whole sequence up to the start of the title track. Drop the piss colouring and I could rank it as top 5.
  • Posts: 443
    bondjames wrote: »
    Drop the piss colouring and I could rank it as top 5.

    Oh absolutely. We all noticed it from the trailers but on the big screen the colour grading for Mexico still didn't make sense.

    All that effort they went to in staging the thing and they then mute it. It would have helped highlight the panic amongst the crowds whilst the helicopter circled above them too.
  • Posts: 948
    Absolutely re the score. Had a much more epic vibe in the trailer. I hated newmans piano riff in the m and c scenes. Sounded like a bbc drama.
  • Posts: 948
    There was a cool shot in the puts where the helicopter turns and dives towards the crowd and from behind we see them panic and disperse.
  • mcdonbbmcdonbb deep in the Heart of Texas
    Posts: 4,116
    bondjames wrote: »
    Opening tracking shot. Noticing Sciarra in the crowd and then Bond and his girl. The whole sequence up to the start of the title track. Drop the piss colouring and I could rank it as top 5.

    I love that shot too ...even if it was three shots combined. Was an amazing start to the film.
  • Posts: 2,341
    The one of Seydoux walking thru that diner car in that green dress.
    "Lawd, mine eyes have seen the glory".
  • edited November 2015 Posts: 183
    OHMSS69 wrote: »
    The one of Seydoux walking thru that diner car in that green dress.
    "Lawd, mine eyes have seen the glory".

    I actually found her to be at her least attractive in this scene. Not sure why, possibly too much make up for my liking? I thought she looked far more beautiful and sexy in the clinic etc. I know I may be in the minority here though!
  • There are so many great examples of brilliantly framed and shot sequences throughout the film. Mendes loves creating symmetrical shots, so I really advocate people going back to see SP again just to appreciate the craft of the filmmaking on show (despite the actual fragilities of the plot – this film has class).

    Shots I love:

    - Obviously the opening shot is such a classy and bravura piece of filmmaking.
    - I really love the shot where Bond first meets C and they are framed on either side of the screen whilst Mallory is in the background. It’s a pretty simple shot but it really stayed with me.
    - The shot when Lucia returns home after the funeral and places a light on in her house. Once again, it’s quite a simple shot, but it’s so sexy and mysterious (Hoyte’s work during the entire Rome segment is so standout).
    - I also love the shot during the Austrian chase where within frame you can see the cars racing away and the aeroplane all in shot. It’s a great image and a great example of shooting an action sequence for real.
    - The scene where Madeline and Bond first walk into White’s L’American room. Just Wow. Hoyte outclasses Deakin with this scene alone for me.
    - There’s a final shot on the bridge where the helicopter has crashed and the street is full of fire and smoke and in silhouette you can see Bond aiming a gun at Blofeld’s head. I love all the photography in the London sequences but for me this shot was so brilliant and noteworthy.
  • mcdonbbmcdonbb deep in the Heart of Texas
    Posts: 4,116
    There are so many great examples of brilliantly framed and shot sequences throughout the film. Mendes loves creating symmetrical shots, so I really advocate people going back to see SP again just to appreciate the craft of the filmmaking on show (despite the actual fragilities of the plot – this film has class).

    Shots I love:

    - Obviously the opening shot is such a classy and bravura piece of filmmaking.
    - I really love the shot where Bond first meets C and they are framed on either side of the screen whilst Mallory is in the background. It’s a pretty simple shot but it really stayed with me.
    - The shot when Lucia returns home after the funeral and places a light on in her house. Once again, it’s quite a simple shot, but it’s so sexy and mysterious (Hoyte’s work during the entire Rome segment is so standout).
    - I also love the shot during the Austrian chase where within frame you can see the cars racing away and the aeroplane all in shot. It’s a great image and a great example of shooting an action sequence for real.
    - The scene where Madeline and Bond first walk into White’s L’American room. Just Wow. Hoyte outclasses Deakin with this scene alone for me.
    - There’s a final shot on the bridge where the helicopter has crashed and the street is full of fire and smoke and in silhouette you can see Bond aiming a gun at Blofeld’s head. I love all the photography in the London sequences but for me this shot was so brilliant and noteworthy.

    I agree with all.
  • jake24jake24 Sitting at your desk, kissing your lover, eating supper with your familyModerator
    edited November 2015 Posts: 10,239
    mcdonbb wrote: »
    There are so many great examples of brilliantly framed and shot sequences throughout the film. Mendes loves creating symmetrical shots, so I really advocate people going back to see SP again just to appreciate the craft of the filmmaking on show (despite the actual fragilities of the plot – this film has class).

    Shots I love:

    - Obviously the opening shot is such a classy and bravura piece of filmmaking.
    - I really love the shot where Bond first meets C and they are framed on either side of the screen whilst Mallory is in the background. It’s a pretty simple shot but it really stayed with me.
    - The shot when Lucia returns home after the funeral and places a light on in her house. Once again, it’s quite a simple shot, but it’s so sexy and mysterious (Hoyte’s work during the entire Rome segment is so standout).
    - I also love the shot during the Austrian chase where within frame you can see the cars racing away and the aeroplane all in shot. It’s a great image and a great example of shooting an action sequence for real.
    - The scene where Madeline and Bond first walk into White’s L’American room. Just Wow. Hoyte outclasses Deakin with this scene alone for me.
    - There’s a final shot on the bridge where the helicopter has crashed and the street is full of fire and smoke and in silhouette you can see Bond aiming a gun at Blofeld’s head. I love all the photography in the London sequences but for me this shot was so brilliant and noteworthy.

    I agree with all.

    I do too, particularly the handheld shots in the L'Americaine scenes as Bond aims his gun at the rat, while Madeleine sleeps in the background. Those shots alone make the film worth watching.
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