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Happy 100th ARRI!

Very honored to take part in three interviews for Arri’s 100th Anniversary. Check out this segment about No Subtitles Necessary: Laszlo & Vilmos

László Kovács ASC and Vilmos Zsigmond ASC

https://100.arri.com/interviews/event/59980e65f0c74b7d49b61f6c

 

 

 


Show Extended to May 27, 2015 – Chressanthis@Alternative

By popular demand Chressanthis@Alternative has been extended to Wednesday, May 27, 2015

Alternative Rentals Digital Cinema Los Angeles

5805 W. Jefferson Blvd. Los Angeles 90016

Call (310) 204-3388 for appointment Monday through Friday 10:00 to 5:00 pm

image below: “Bolex Drive Carefully” (2015) mixed media on Niyodo and Mohachi kozo paper

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“I always look where the ancient and traditional intersect with the archetypal and modern.”

Using traditional photographic techniques, digital tools, painting and drawing Chressanthis combines images from around the world: Europe, Greece, Russia, Thailand and across North America. Subjects are as varied as shepherds living on a mountaintop beneath an ancient temple, a Muslim family in coastal Thailand, a rapper and his crew in Oaktown California, the people living at the end of the Trans Siberian railway, the estuaries of Eastern Quebec, Nomads in Mongolia who carry a satellite dish with them.

artist website: http://www.chressanthis.com/
Alternative website: http://www.alternativerentals.com/

image below: “Bella Medea Pink” (2013) pigment ink print on Somerset cotton rag paper

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Reception Photos: Chressanthis@Alternative – May 9, 2015

Top: James Chressanthis talks with photographer Douglas Kirkland

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Singer-Songwriter Billy Joseph

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Chressanthis@Alternative

This  “Flash Exhibition” is open Sunday, May 10, 10:00 am to 6:00 pm and May 11-15 by appointment.

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Using traditional photographic techniques, digital tools, painting and drawing Chressanthis combines images from around the world: Europe, Greece, Russia, Thailand and across North America. Subjects are as varied as shepherds living on a mountaintop beneath an ancient temple, a Muslim family in coastal Thailand, a rapper and his crew in Oaktown California, the people living at the end of the Trans Siberian railway, the estuaries of Eastern Quebec, Nomads in Mongolia who carry a satellite dish with them.

“I always look where the ancient and traditional intersect with the archetypal and modern.”

artist website: http://www.chressanthis.com/
Alternative website: http://www.alternativerentals.com/   


Gordon Willis, ASC 1932-2014

Gordon Willis, ASC the brilliant artist cinematographer of the the three Godfather movies, Annie Hall, Manhattan,  Klute, The Parallax View, All the Presidents Men and so many other great movies has passed. His bold photography helped define the look of 1970s cinema and was high regarded and studied by his colleagues.

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Regarding his work on “The Godfather,” Variety wrote in 1997, “Among “The Godfather’s” many astonishments, the photography by Gordon Willis — a rich play with light and shadow — confirmed Willis’ genius but was especially striking as an extension of Francis Ford Coppola’s creative intelligence. ” Coppola once said, “He has a natural sense of structure and beauty, not unlike a Renaissance artist.” He faced resistance at first to not showing Marlon Brando’s eyes, purposely obscuring the lighting to suggest the family’s corruption. “There were times when we didn’t want the audience to see what was going on in there and then subtly, you let them see into his soul for a while,” Willis famously said.

His long collaboration with Woody Allen also included shooting “Interiors,” “Stardust Memories,” “Broadway Danny Rose,” “The Purple Rose of Cairo” and “Zelig.” Hal Ashby hired Willis for his first film, “The Landlord,” and during the 1970s he shot pics such as “Bad Company,” “The Drowning Pool,” “Up the Sandbox” and “Little Murders.” In later years, he worked on “Malice,” “The Pick-Up Artist” and “The Money Pit” and Bridges’ “Perfect” and “Bright Lights, Big City.”

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His black-and-white photography for “Manhattan” made it one of cinema’s most visually arresting films. Roger Ebert wrote of “Manhattan,” “All of these locations and all of these songs would not have the effect they do without the widescreen black and white cinematography of Gordon Willis. This is one of the best-photographed movies ever made… Some of the scenes are famous just because of Willis’ lighting. For example, the way Isaac and Mary walk through the observatory as if they’re strolling among the stars or on the surface of the moon. Later, as their conversation gets a little lost, Willis daringly lets them disappear into darkness, and then finds them again with just a sliver of side-lighting.”

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Gordon Willis with Woody Allen


Cesar’s Last Fast to premiere at 2014 Sundance Film Festival

Cesar’s Last Fast will premiere at the 2014 Sundance Film Festival in the U.S. Feature Documentary Competition.

In 1988, I was very fortunate to have filmed Cesar’s 36 day fast to bring worldwide attention upon the dangers of pesticides: to both farmworkers and all people. The film of his fast became the spine of his life story told by directors Richard Ray Perez and Lorena Parlee. Inspired by Catholic social teaching, Cesar Chavez risked his life fighting for America’s poorest workers. The film illuminates the intensity of one man’s devotion and personal sacrifice, the birth of an economic justice movement, and tells an untold chapter in the story of civil rights in America.

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Freedom Road: THE WATSONS GO TO BIRMINGHAM

The most infamous and galvanizing hate crime of the Civil Rights era is brought back to life in a stirring new Hallmark Channel television feature.
A personal window into events fifty years ago that changed our country forever. Cinematography by James Chressanthis, ASC.
Article by Bob Fisher. http://www.icgmagazine.com/wordpress/2013/09/03/freedom-road/#more-2774

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We Love You Karen Black

So sad that Karen Black passed. She was full of spirit and smiles to the end. We are forever grateful for her contribution to No Subtitles Necessary: Laszlo & Vilmos. Her kind heart and generosity were clear to see when she reunited with Laszlo. He said ” You were perfect in Five Easy Pieces.” I asked her what made Laszlo such a great cinematographer and she said: “Laszlo points his camera at the story.” Her recollection of her preparation and the making of “Five Easy Pieces” is a must for any actor or filmmaker. http://www.nytimes.com/2013/08/09/movies/karen-black-versatile-character-actress-dies-at-74.html?pagewanted=all&_r=0
Photo: So sad that Karen Black passed today. She was full of spirit and smiles to the end. We are forever grateful for her contribution to No Subtitles Necessary. Her kind heart and generosity were clear to see when she reunited with Laszlo. He said " You were perfect in Five Easy Pieces." I asked her what made Laszlo such a great cinematographer and she said: "Laszlo points his camera at the story." Her recollection of her preparation and the making of "Five Easy Pieces" is a must for any actor or filmmaker. http://www.nytimes.com/2013/08/09/movies/karen-black-versatile-character-actress-dies-at-74.html?pagewanted=all&_r=0
Karen in 2009
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With Jack Nicholson in “Five Easy Pieces”

My Last Kodachromes

My Last Kodachromes – October 9, 2010 Hostai National Park, Mongolia

Like a scene from The Road Warrior the family came over a hill in an all-wheel drive Subaru and a 4-wheel-drive Toyota truck with a solar powered satellite dish while the number one son on horseback drove the mixed herd of  cattle, sheep, goats and horses to winter grazing. They stopped and shared some fried bread with me, checked for a cell phone signal (there was none) and proceeded on. In a minute they were over the next hillock and gone. I am indebted to Daniel Khamdamov, a French photographer and producer for ARTE television. He was shooting Widelux camera shots on Kodachrome around the world. he had shot over fifty rolls and he generously gave me one of his last rolls of Kodachrome 25. I’m glad I saved it for this family and this moment.


Travels

From My Travels – Dina, village of Linistaina, Greece 2009 I met Dina in 1980 and filmed her spinning wool on her distaff while she tended her flock of sheep. The clouds gathered darkening the mountainside. In the cold of the first rain drops Dina mounted her mule and drove the sheep to shelter. She cried back to me: “Sto museo!” You are putting me in the museum! She laughed again, snapped the reins and waved to me: “To the museum!” “Sto Museo!”