#Dante Spinotti

[sesiondemadrugada]

The Quick and the Dead (Sam Raimi, 1995).

[zachfett]

Manhunter (1986) Directed by Michael Mann Cinematography by Dante Spinotti

[peliculimbo]

X-Men: The Last Stand (2006), cinematographer, Dante Spinotti

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The Mirror Has Two Faces (1996)

Directed by Barbra Streisand

Cinematography by Andrzej Bartkowiak, Dante Spinotti

[boardchairman-blog]

**Shots of the Movie**

The Quick and the Dead (1995)

Director: Sam Raimi Cinematographer: Dante Spinotti

[adscinema]

Michael Mann Skies.

Tokyo Vice (2022) / Blackhat (2015) / Public Enemies (2009) / Miami Vice (2006) / Collateral (2004) / Ali (2001) / The Insider (1999) / Heat (1995)

[floorman3]

LA Confidential Retro Review- The Best Film Noir Since Chinatown

James Ellroy is an established author who has written a bunch of books about LA in the past, usually in the 50s or 60s. He loves this era. Which makes LA Confidential a must-read. That was an easy book to adapt to a film. The director of LA Confidential, Curtis Hanson, wasn’t as prolific as a director as Ellroy was as a writer, but he did make one masterpiece, and that’s LA Confidential, which…

[genevieveetguy]

. Let me tell you something: My father was a very big man. And all his life he wore a black mustache. When it was no longer black, he used a small brush, such as ladies use for their eyes. Mascara.

The Comfort of Strangers, Paul Schrader (1990)

[tippytheclown1]

‘Heat’ 1995

Cinematography by Dante Spinotti

via @spektraleschattenlichter on ig

[junior-stargazer-goke91]

L.A. Confidential (1997)

Director: Curtis Hanson

Cinematographer: Dante Spinotti

[vibe-stash]

Heat (1995)

Director: Michael Mann DOP: Dante Spinotti Production Design: Neil Spisak Art Direction: Margie Stone McShirley

[hookshot18]

Watched Michael Mann’s Manhunter

(No, he didn’t choose the title)

So I’ve been in both a Hannibal mood and a Michael Mann mood recently, so I thought I’d take a look at the original adaptation of the original novel. And I gotta say, it’s very interesting to look at it both isolated and in the context of everything that came afterwards

First of all, it’s got a great cast. Unlike the sequels there aren’t really any names in the cast outside of Brian Cox, but everyone gives a great performance, especially William Petersen as Will Graham. Whenever he’d do the character’s signature monologues while talking to himself, it’s nothing but him talking directly to the camera in single takes, he doesn’t have the luxury of cuts or montages to fall back on. Brian Cox’s Hannibal Lecktor is the most understated version, but that doesn’t mean he’s missing the kind of fruity cattiness that makes him so fascinating to watch. The two of them have great chemistry that definitely does have hints of the homoerotic, but I just wish I was able to watch more of them. The killer who they’ve reunited over, Francis Dolarhyde, is played by Tom Noonan, is also a real treat. He’s so tall and imposing, and a great antagonist. One of the flaws of the movie is how little time is spent on him. (Ironically the book has the opposite problem, having page after page describe every single injustice Dolarhyde has faced as a child to the point of being cartoonishly tragic.) As I haven’t finished the Hannibal show, I can’t comment on its portrayal of the Red Dragon, so I have to give it to the 2002 movie for the best version of him. All of the rest of the cast, such as Dennis Farina, Kim Greist, and Joan Allen are all extremely natural and do a good job even if they aren’t as memorable as future performances in the series

From a filmmaking perspective, it’s beautiful. Michael Mann and cinematographer Dante Spinotti have beautiful imagery that they love to linger on, the score is that kind of 80s synth sound that horror and thrillers have severely lacked in the last few decades, and it all builds up to a movie that has the perfect amount of style and substance.

I’ll compare it to the other movies in the series that I’ve seen, Silence of the Lambs and Red Dragon. It’s very interesting to watch compared to the former, since that one is unique in that it goes for a very naturalistic visual style, which pairs well with the more animated cast. And then Red Dragon makes the cast even more animated somehow, and has become perhaps the most stylized thing outside of the TV series, though I think it backfired into becoming style over substance, which is odd considering it has the same source material and cinematographer, but 16 years and a worse director make all the difference. Mann’s iconic level of detail may be a bit overboard, to the point where most of the crew left before wrapping and the ending is very noticeably cobbled together and short, but you won’t see Brett Ratner have people ride an elevator in a building several blocks away timed exactly to rise as Will figures out the killer’s motive, being basically a Lightbulb moment.

All in all, if you’re a fan of either Hannibal Lecter, thrillers, or just movies in general, give this a watch, it’s very much a hidden gem

[nine-frames]

“Some people deserve to die.”

The Quick and the Dead, 1995.

Dir. Sam Raimi | Writ. Simon Moore | DOP Dante Spinotti

[wintercorrybriea]

Heat (1995) dir. Michael Man

Cinematography by Dante Spinotti

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Public Enemies (2009)

Directed by Michael Mann

Cinematography by Dante Spinotti

[byneddiedingo]

Gene Hackman in The Quick and the Dead (Sam Raimi, 1995)

Cast: Sharon Stone, Gene Hackman, Russell Crowe, Leonardo DiCaprio, Tobin Bell, Roberts Blossom, Kevin Conway, Keith David, Lance Henriksen, Pat Hingle, Gary Sinise. Screenplay: Simon Moore. Cinematography: Dante Spinotti. Production design: Patrizia von Brandenstein. Film editing: Pietro Scalia. Music: Alan Silvestri. 

I miss Gene Hackman. When he retired in 2004, it had seemed for a while that he was in every other movie being made: In 2001, for example, he made five, including one of his best comic performances in Wes Anderson's The Royal Tenenbaums. In the year he made The Quick and the Dead he was also in Tony Scott's Crimson Tide and Barry Sonnenfeld's Get Shorty. He's certainly the best thing about Sam Raimi's mock-spaghetti Western, in a role that echoes his Oscar-winning one in Unforgiven (Clint Eastwood, 1992). He brings the same infuriating self-satisfied smirk to his performance as John Herod, the ruthless boss of the town of Redemption as he did in the role of the ruthless sheriff "Little" Bill Daggett in Eastwood's movie. Hackman's great gift was the ability to give memorably watchable performances without overwhelming a film's ensemble, and the ensemble for The Quick and the Dead is a good one, even if they're playing slightly skewed versions of Western stereotypes. Sharon Stone, who was one of the producers of the movie, plays the stranger who rides into town; Russell Crowe is the outlaw who wants to give up killing; and Leonardo DiCaprio is the gun-happy kid. The setup is that Herod is staging a tournament, pairing off gunslingers in one-on-one shootouts until only one is left standing. You can guess immediately who the final four will be. It's by no means a landmark film, but Raimi's direction gives it the right pace, and the actors, including good character turns by Pat Hingle, Lance Henriksen, and Keith David, make it watchable, as does Dante Spinotti's cinematography.