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Message  Matthieu le Mer 1 Déc 2010 - 11:23

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Message  Matthieu le Dim 23 Sep 2012 - 14:41

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Message  Luce le Dim 18 Nov 2012 - 11:03

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Message  Luce le Dim 17 Fév 2013 - 18:38

The top 10 shots of 2012: part two (HitFix, 13 février 2013)
"ANNA KARENINA"
Director of Photography: Seamus McGarvey

"Joe loves playing with time, but in a similar way, he likes for a shot -- in one take -- to be both subjective and objective. We see Anna and Vronsky move onto the dance floor and sort of activate these dancers with their passion, so there's already a metaphor at work. Then it goes from the real gradually into a more psychological sort of space, when he lifts her up and the camera swirls around her. At that moment there was an almighty stampede behind the camera and underneath the camera as all the extras had to kind of evacuate the auditorium really in the space of five or six seconds! But it's an exciting technique to explore, because when you have that symbiosis between your actors and the camera, you can create another layer of dynamism. It's a cinematic, sort of architectural travel. And that's always the goal. It's not to make a peacock of a shot."

- Seamus McGarvey
Seamus McGarvey has been here before. Recall a centerpiece steadicam shot from 2007's "Atonement," moving through the beach at Dunkirk and all the production coordination that went into it. Yet in that introductory year of this column, I resisted the temptation to choose it and instead went with something more modest, but just as powerful. This year, though, I couldn't resist the big moment of "Anna Karenina," and McGarvey's quote above does a nice job of summing up why.

The shot itself is a feat of choreography, of course. But what it says thematically is key. So much of the film, particularly the cinematography, is exciting and a true testament to artistry this year. There are some days I think it should have found a place on my top 10 list, and certainly, it nearly did. But director Joe Wright is an exciting talent because he is so involved with what the images of his films actually mean. And by the way, a big hand to steadicam operator Peter Robertson, who was holding and guiding the camera on both this shot and the big shot from "Atonement."
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