sign in sign up
<<
Home , Albert Finney, All About Eve, Ang Lee, Annie Hall, Anthony Minghella, Audrey Hepburn

camera movesincludingsweeping 90-degr to sashaydownaflightofstairsin Lord oftheRings:TheReturn King ALL THERIGHTMOVES: And the Winners Are... 62 we presentsomeofourfeaturedirectorsatworkontheirwinningfilms. been honoredwiththeDGAAward.Torecognizetheiraccomplishments, Since 1948,theyear'sgreatestachievementbyfeaturedirectorshas DGA AWARDS 2003 dga quarterly > EARS (above) shares somemagicwithSeanAstin in (above) PeterJacksonshares 60 Y . The features manyofCukor’ssignature My FairLady.Thefilmfeatures . (right) , how Hepburn . (right)George showing Audrey ee pansandbackwar d tracking. The

Photos: (left) Pierre Vinet/New Line Productions; (opposite) AMPAS 1964

1969 1955 1996

BRONX CHEER: Del Mann (right) remade his 1953 movie for ROMANCE AND CIGARETTES: , directing Kristin Scott as a feature. as a Bronx butcher and as Thomas, shot ’s World War II novel a timid schoolteacher were a middle-aged couple who unexpectedly find on location in and Tunisia, but almost every reverse angle shot following love. Mann was the first director to win an Oscar for his debut feature. a desert vista was done on a soundstage due to budgetary constraints.

2002 1950

STREETWISE: Before directing , (right, with ) got a memo from a studio executive saying that ALL THAT JAZZ: , who had been a choreographer, shows BACKSTAGE INTRIGUE: Monroe’s career was just taking off when “If we could clean this up and Renée Zellweger how to carry herself onstage in . She had no Joseph Mankiewicz cast her in a bit part in . add a few songs, it could be a singing or dancing training prior to the film. This was Marshall’s first feature; starred as an aging actress usurped by upstart . The film was he got the job after directing a movie for television of the musical . nominated for a record 14 . great vehicle for .” Photos: (opposite) AMPAS; (clockwise from top left) Phil Bray/Courtesy Film Corp.; David James/Courtesy AMPAS

dga quarterly 65

1979 1975 1982 1980 1981 1992

DIVORCE AMERICAN STYLE: JUMP SHOT: Milos Forman directs a EPIC PROPORTIONS: FAMILY MATTERS: ponders SOVIET CINEMA: DP Vittorio Storaro (left) SHOOTOUT: dedicated Benton mediates between basketball scene in One Flew Over the directs a tracking shot in Gandhi, featuring a shot in his directorial debut, Ordinary and as radical journalist John to his mentors and in Kramer vs. Kramer. Cuckoos Nest with . Some in the title role. 300,000 People, starring in his first Reed in Reds. The film opens with static and Don Siegel. The Big Whiskey set was Shot on locations around , the film extras and crew members were inmates extras were used for the funeral sequence film. Redford wanted to make the film shots and as it progresses the camera created in Calgary, and in typical Eastwood had a realistic look, using source lighting at the Oregon State Mental Hospital where directed by 11 crews who shot 20,000 feet because the family reminded him of his becomes more fluid. The Russian fashion, the film was shot in only 39 indoors and available light for exteriors. the film was shot. of film. It lasted two minutes in the film. own in the way it didn’t talk about issues. Revolution sections were shot in Helsinki. days—four days ahead of schedule.

1986 1951

WARTIME: The Philippines CRIME OF PASSION: George doubled for Vietnam in Oliver Stevens directs Montgomery Stone’s Platoon. All of the Clift and Taylor in A actors had to go through a Place in the Sun, based on harsh 14-day boot and Dreiser’s An American Tragedy. stay in character before film- Stevens wanted to avoid the ing began. Stone was the first “Oh, what a beautiful morn- Vietnam vet to direct a major ing” quality of and film about the war. shot in and white. Photos: (top, left to right) /Photofest; Courtesy ; AMPAS; (bottom) Ricky Francisco/ Corp./Photofest Photos: (top, left to right) AMPAS; David Appleby/; Warner Bros. Inc.; (bottom) AMPAS

66 dga quarterly dga quarterly 67

TALL TALES: 2000 mixes the real world with the miraculous in 1958 Crouching , Hidden Dragon, starring Chow Yun-Fat as a warrior in search of a stolen sword FRENCH KISS: Vincente and lost love. Minnelli (third from right) shooting a tracking shot for on location in Paris. The last few numbers were filmed in an apartment con- structed on the MGM back- lot. The film is often referred to as the last great musical TRUE LOVE: Robert done by the studio. 1961 Wise explains a scene to in . Wise fought to shoot on locations in New York for authenticity. Interior sets were built six feet above the ground to allow for low-angle shooting with 70 mm cameras.

BIG DEAL: George Roy 1973 Hill prepares Robert Redford for the climatic hoax in . The ’30s period piece was shot mostly on the Universal backlot with a few days on location in Chicago.

HEAD CASE: Anthony 1991 Hopkins in his padded cell as Hannibal “the Cannibal” Lecter is strapped in by in The Silence of the Lambs. Much of the film was shot in because of its variety of landscapes and architecture.

68 dga quarterly Photos: (opposite, top to bottom) Courtesy Pictures; /Photofest; AMPAS; Orion Pictures Corp.; (above) AMPAS dga quarterly 69

1993 1994 1997

SINKING SHIP: shoots on the grand staircase of the Titanic. In a later scene, this set was going to be destroyed as water comes rushing onto the ship, so Cameron had only one chance to get his shot.

LABOR OF LOVE: shot Schindlers List on location in BOX OF CHOCOLATES: The park bench that sits on in Forrest Poland where a of Auschwitz was built outside the walls of the Gump was located in Savannah, Ga.’s Chippewa Square. camp. It was one of the largest sets ever built in the country and followed used Norman Rockwell paintings as the design inspiration for Forrest’s the plans of the original site. hometown.

1977 1963

ANHEDONIA: originally intended , with ROGUE: stages the execution of as the title and Tony , to be a murder mystery. He called the film “a major turn- character in Tom Jones, an adaptation of Henry Fielding’s bawdy novel. ing point” both thematically and technically. The film established his signa- The opening sequence is played as a silent comedy and characters often ture style of shooting long, uninterrupted takes. break the by talking directly to the camera. Photos: (clockwise from top left) David James/AMPAS; Paramount Pictures/Photofest; United Artists/Photofest; AMPAS; (opposite) Merie W. Wallace/Courtesy Lightstorm ., Inc.

70 dga quarterly