Der große Kameramann Michael Ballhaus spricht in einem Interview mit Katja Nicodemus über die Filme seines Lebens, seine Autobiografie und den Verlust seines Sehvermögens.

Der große Kameramann Michael Ballhaus spricht in einem Interview mit Katja Nicodemus über die Filme seines Lebens, seine Autobiografie und den Verlust seines Sehvermögens.

The Departed (2006) Martin Scorsese

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Goodfellas (1990) Martin Scorsese

Bildquelle
Rainer Werner Fassbinder und Kameramann Michael Ballhaus bei Dreharbeiten zu „Warnung vor einer heiligen Nutte”, BRD 1970

Bildquelle

Rainer Werner Fassbinder und Kameramann Michael Ballhaus bei Dreharbeiten zu „Warnung vor einer heiligen Nutte”, BRD 1970

Martha (1974) Rainer Werner Fassbinder

oldhollywood:

Jimmy Stewart & Grace Kelly on the set of Rear Window (1954, dir. Alfred Hitchcock)
(via)

oldhollywood:

Jimmy Stewart & Grace Kelly on the set of Rear Window (1954, dir. Alfred Hitchcock)

(via)

Rear Window (1954) Alfred Hitchcock

wehadfacesthen:

David O. Selznick (producer), Joan Fontaine (actress), Alfred Hitchcock (director), and Judith Anderson (actress) at the 13th Academy Awards, 1941. All 4 were up for Oscars for Rebecca, which had eleven nominations but only won for Best Picture (Selznick) and Best Cinematography (George Barnes).

wehadfacesthen:

David O. Selznick (producer), Joan Fontaine (actress), Alfred Hitchcock (director), and Judith Anderson (actress) at the 13th Academy Awards, 1941. All 4 were up for Oscars for Rebecca, which had eleven nominations but only won for Best Picture (Selznick) and Best Cinematography (George Barnes).

oldhollywood:

From Rebecca’s opening sequence (1940, dir. Alfred Hitchcock, based on Daphne Du Maurier’s Rebecca) 
"Last night, I dreamt I went to Manderley again.
It seemed to me I stood by the iron gate leading to the drive, and for a while I could not enter, for the way was barred to me. Then, like all dreamers, I was possessed of a sudden with supernatural powers and passed like a spirit through the barrier before me. The drive wound away in front of me, twisting and turning as it had always done. But as I advanced, I was aware that a change had come upon it. Nature had come into her own again, and little by little had encroached upon the drive with long tenacious fingers.
And finally, there was Manderley - Manderley - secretive and silent as it had always been, the grey stone shining in the moonlight of my dream. I looked upon a desolate shell, with no whisper of a past about its staring walls. We can never go back to Manderley again.”

oldhollywood:

From Rebecca’s opening sequence (1940, dir. Alfred Hitchcock, based on Daphne Du Maurier’s Rebecca

"Last night, I dreamt I went to Manderley again.

It seemed to me I stood by the iron gate leading to the drive, and for a while I could not enter, for the way was barred to me. Then, like all dreamers, I was possessed of a sudden with supernatural powers and passed like a spirit through the barrier before me. The drive wound away in front of me, twisting and turning as it had always done. But as I advanced, I was aware that a change had come upon it. Nature had come into her own again, and little by little had encroached upon the drive with long tenacious fingers.

And finally, there was Manderley - Manderley - secretive and silent as it had always been, the grey stone shining in the moonlight of my dream. I looked upon a desolate shell, with no whisper of a past about its staring walls. We can never go back to Manderley again.”

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Rebecca (1940) Alfred Hitchcock

Dallas Buyers Club (2013) Jean-Marc Vallée

moviescreenshotsilike:

Mud (2012)

(via doriswalter)

Cartier-Bresson, Buster Keaton, cay & Tulpen. Berlin, Februar 2014