DOCSLIB.ORG

Rob Hardy, Asc, Bsc Director of Photography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rob Hardy, Asc, Bsc Director of Photography ROB HARDY, ASC, BSC DIRECTOR OF PHOTOGRAPHY FILM & TELEVISION MEN Director: Alex Garland Production Company: A24 & DNA Films THE MAN FROM TORONTO Director: Patrick Hughes Production Company: Sony Pictures & Escape Artists DEVS Director: Alex Garland Production Company: FX Productions Nominated, Best Photography & Lightning, BAFTA TV Awards (2021) MISSION IMPOSSIBLE: FALLOUT Director: Christopher McQuairre Production Company: Paramount Pictures & Bad Robot ANNIHILATION Director: Alex Garland Production Company: DNA Films, Film 4 & Paramount EUPHORIA Director: Lisa Langseth Production Company: B-Reel Feature Films Official Selection, Toronto Film Festival (2017) EX MACHINA Director: Alex Garland Production Company: DNA Films, Film 4 & Scott Rudin Productions Nominated, Outstanding British Film & Debut, BAFTA Awards (2016) Nominated, Best Film, Best Screenplay and Best Director, British Independent Film Awards (2015) LUX ARTISTS | 1 TESTAMENT OF YOUTH Director: James Kent Production Company: Heyday Films & BBC Films Official Selection, London Film Festival (2014) THE INVISIBLE WOMAN Director: Ralph Fiennes Production Company: Magnolia Mae Films & BBC Films Official Selection, London Film Festival (2013) Official Selection, Toronto Film Festival (2013) BROKEN Director: Rufus Norris Production Company: Cuba Pictures Limited & BBC Films Winner, Best British Film, BIFA Awards (2012) Official Selection, Cannes Film Festival (2012) SHADOW DANCER Director: James Marsh Production Company: Unanimous,BBC Films & Element Pictures Official Selection, Sundance Film Festival (2012) Official Selection, Berlin Film Festival (2012) STOLEN Director: Justin Chadwick Production Company: RSJ Productions Winner, Best Cinematography in a Television Drama, BSC Awards (2011) THE FIRST GRADER Director: Justin Chadwick Production Company: Origin Pics, BBC Films & Sixth Sense Productions Official Selection, London Film Festival (2010) Official Selection, Toronto Film Festival (2010) RED RIDING: 1974 Director: Julian Jarrold Production Company: Revolution Productions & Channel 4 Winner, Best Cinematography & Lighting, BAFTA TV Awards (2010) BOY A Director: John Crowley Production Company: Cuba Pictures & Channel 4 Winner, Prize of the Ecumenical Jury, Berlin Film Festival (2008) Winner, Best Cinematography, BAFTA Awards (2008) Official Selection, London Film Festival (2007) Official Selection, Toronto Film Festival (2007) LUX ARTISTS | 2 DIRECTOR/COMMERCIAL GARY FREEDMAN Visa JAMES MARSH The Guardian SAM HIBBARD TK Maxx AMBER GRACE JOHNSON Hyundai MARK ROMANEK Cadillac, Nike Jordan, Target, Cadillac NICK GORDON Bank of Scotland LEILA & DAMIEN DE BLINKK Scottish Widows GUY SHELMERDINE Barclaycard YANN DEMANGE NSPCC, Land Rover, Grolsch, COI HENRY SCHOLFIELD Samsung KIRK JONES Made.com PAUL GORE BBC2 Ident JAMES MARSH BBC 4 Promo, BBC 1 Promo SEBASTIAN STRASSER Vodafone JARON ALBERTIN Coca Cola LUCY TCHERNIAK Phillips JOHN CROWLEY Tesco DAVID KERR Late Room, Dominos, Bernard Matthews DAWN SHADFORTH Sca Liners, Sci-fi TOM TAGHOLM Alan Carr Chatty Man TREVOR MELVIN EBLEX CONKERO Motorola US Eurotel OWEN HARRIS 18-30, Danacol MARK JENKINSON O2 JAKE NAVA Army Reserves DIRECTOR/MUSIC VIDEO EMIL NAVA Gabriella Cilmi “Defender” KIM GEHRIG Goldfrapp “Rocket” JAMES MARSH Sigur Ross “Inni” DAWN SHADFORTH Florence And The Machine “Drumming Song”, Bjork “Who Is It”, Basement Jaxx “Red Alert” SEAN ELLIS Alex Kogan “Leaving Tomorrow Behind” PAUL GORE Noisettes “Never Forget You”, Paolo Nutini “Jenny Don’t Be Hasty” DANIEL WOLFE Energies “Born Again Runner” SOPHIE MULLER Mika “Love Today” SAM BROWN Get Cape Wear Cape Fly “War Of The Worlds”, James Morrison “You Give Me Something” FLORIA SIGISMONDI Martina Topley “Bird Anything” GRANT SINGER Skrillex “Red Lips” ARTIST WEBSITE LUX ARTISTS | 3.
Load more

Recommended publications
  • Ex-Machina and the Feminine Body Through Human and Posthuman Dystopia
    Elisabetta Di MINICO Ex-Machina and the Feminine Body through Human and Posthuman Dystopia Abstract: Ex-Machina is a 2015 sci-fi thriller, written and directed by Alex Garland, and starring Domhnall Gleeson, Oscar Isaac and Alicia Vikander. Critically acclaimed, the movie explores the relations between human and posthuman, as well as the relations between men and women. The article analyzes four main themes: the dystopian spaces of relations and conflicts between human and posthuman entities; the gender issues and the violent tendencies represented both in humans and in AIs; the construction and the representation of women’s bodies, roles, identities and images; the control and the manipulation perpetrated by “authoritarian” individuals on feminine bodies. The goal of my contribution is to show the reasons of the “double male fear of technology and of woman” (Huyssen 226), and I hope that my reflections could encourage a debate on posthumanism and on gendered power relations. Keywords: Human and Posthuman, Gender Issues, Dystopia. Ex-Machina is a 2015 sci-fi thriller, written and directed by Alex Garland, and starring Domhnall Gleeson, Oscar Isaac and Alicia Vikander. Acclaimed by critics, the movie ex- plores the relations between human and post- human, as well as the relations between men and women. With its lucid and tense writ- Elisabetta Di MINICO ing, Garland reflects on the possible dysto- University of Barcelona pian evolution of artificial intelligence, and Email: [email protected] he does that with no usual negative tenden- cy to create an evil sentient mechanism with- EKPHRASIS, 1/2017 out a cause. In the vision of Ex-Machina, both GHOSTS IN THE CINEMA MACHINE human and posthuman subjects contribute to pp.
    [Show full text]
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • Project 1 Part 2 Sample Paper
    Global Market of Dream Company: A24 As A24 continued to grow, it eventually became apparent that the small independent o.-., -t.,.. o..t1 company would have to build its status in the filmdistribution market internationall1 Around 1+,uc t 2016, A24 had some profound success when their films Room and Ex Machina gained Oscar nominations (Busch). Because of this, A24 hired investment banker Sasha Lloyd to oversee A24's international base and be the main force behind international release and distribution (Busch). As of this last year, A24 has well established itself in the global market for film distribution One of A24's most notable releases from2019, Midsommar, was distributed in the ) � 'j014 I\� ,tW. �C-('l•"'4 1' tN,t.. 1 ( UK, Australia, New Zealand, Germany, Austria, Switzerland, Spain, South Korea, Greece, C,O�t'- "-·' E..l,M,,ttf ( I,\k,. throughout the Middle East, Thailand, and Indonesia (Kay)) Of this countries, a notable one to b-�� . - ·) investigate is Germany. Germany has a population of 80,159,662 people, with 87% of citizens speaking German ("The World Factbook: Germany"). Germany has the fifth largest economy in the world, with a $3.701 trillion GDP, and there is 89.6% of the population utilizing the internet ("Germany"). To see how A24 is accepted in Germany, the best example is to view the film 1 Jvfidsommar's run in the country. /vlidsommarwas released in Germany on September 26 '\ 2019. I\O-t �1,1,td_ Th. lr-"""M� The filmwas l��-ttle*.S), with German subtitles being utilized to bridge the language barrier gap.
    [Show full text]
  • April 2021 New Titles List University of Dubuque
    April 2021 New Titles List University of Dubuque Local Item Call Local Item Permanent Number Author Name Title Publisher NamePublication Date Edition Language Name Material Format Material Subformat Shelving Location N/A Neonatology today. Neonatology Today,2006 N/A English JOURNALS/MAGAZIN EJOURNALS/EMAGA ES ZINES Parkman, Francis, A half century of Little, Brown, and Co.,1899 Frontenac English BOOKS PRINTBOOK conflict / edition. Schur, Michael,Scanlon, The Good Place. Universal 2019 N/A English VIDEOS DVDS Claire,Miller, Beth Television,Shout! Factory, McCarthy,Holland, Dean,Bell, Kristen,Danson, Ted,Harper, William Jackson,Jamil, Jameela,Carden, D'Arcy,Jacinto, Manny,; Shout! Factory (Firm),Universal Television (Firm), AM151 .T54 2019 Garcia, Tristan,Normand, Theater, garden, ÉCAL/University of Art 2019 N/A English BOOKSPRINTBOOK New Book Collection: Vincent,; École cantonale bestiary :a and Design Lausanne 1st Floor d'art de Lausanne,Haute materialist history of ;Sternberg Press, école spécialisée de exhibitions / Suisse occidentale. BF789.C7 P3713 Pastoureau, Michel,; Green :the history of Princeton University 2014 N/A English BOOKSPRINTBOOK New Book Collection: 2014 Gladding, Jody, a color / Press, 1st Floor BJ1521 .H76 2020 Miller, Christian B.,West, Integrity, honesty, Oxford University Press,2020 N/A English BOOKSPRINTBOOK New Book Collection: Ryan, and truth seeking / 1st Floor BR65.A9 W47 Wessel, Susan, On compassion, Bloomsbury Academic,2020 N/A English BOOKSPRINTBOOK New Book Collection: 2020 healing, suffering, 1st Floor and the purpose of the emotional life / BS195 .R48 2019 Wansbrough, Henry, The Revised New Image,2019 First U.S. edition. English BOOKSPRINTBOOK New Book Collection: Jerusalem Bible 1st Floor :study edition / BS2553 .R83 Ruden, Sarah, The Gospels / Modern Library,2021 First edition.
    [Show full text]
  • The (Im)Possibility of Adaptation in Alex Garland's Annihilation
    The (Im)Possibility of Adaptation in Alex Garland’s Annihilation Emmanuelle Ben Hadj A 2018 article about Alex Garland’s science-fiction film Annihilation (2018) asks the question: “is Annihilation the first true film of the Anthropocene?”1 The answer is most likely no. The Anthropocene is a term created in 2000 by scientists Paul Crutzen and Eugene Stoermer to signify the importance of environmental change caused by humans. For decades, and even centuries, humanity has become a geological agent capable of reshaping planet Earth according to their own needs and desires. Our actions have altered the planet’s climate for the worse to the point of hindering the natural course of evolution. For this reason, scientists—though disagreements within the scientific community still exist—have felt the need to suggest the existence of a new geological era, the Anthropocene, that would follow the previous era of the Holocene. Selmin Kara coined the term “Anthropocenema” to talk about the trend of science fiction and other genre films depicting the consequences of anthropogenic actions on Earth.2 I would argue that it would be unfair to call Annihilation the first true film of the Anthropocene when the science fiction genre has been so prolific in tackling environmental disasters, with recent films such as Interstellar (Nolan, 2014), or older films like Andreï Tarkovski’s Stalker (1979) to which Annihilation is often compared. However, Alex Garland’s film certainly stands out in its refusal to compromise with humanity’s fate, hence its particularly negative and pessimistic representation of man. The new ecology of cinema that no longer hesitates to feature human-made disasters, as well as the creation of fictional alternate worlds for pleasure and escapism, could be read as a way to 1 Lewis Gordon, “Is Annihilation the First True Film of the Anthropocene?”, Little White Lies, March 13, 2018 (accessed January 23, 2020).
    [Show full text]
  • Came the Dawn : Memories of a Film Pioneer
    ICIL M. HEPWORTH a film pioneer The Dawn comes to Flicker Alley Still a familiar figure in Wardour Street, Mr. Cecil Hepworth is a pioneer of British Cinema. In his autobiography he has a fascinating story to tell. They were simpler, sunnier days. Hepworth began in the 'showmanship' period in the late 'nineties, carrying his forty-second films to lecture-halls all over the country, where frenzied audiences demanded their repetition many times at a sitting. From the 'fairground' period he helped nurse the cinema to the time of the great Hepworth Company at its Walton-on- Thames studios. To those studios came famous stage actors, men of mark in many fields, anxious to try the new medium. In those studios many 'stars' of yesterday made world-wide reputations: Alma Taylor, Chrissie White, Gerald Ames, Ronald Colman, Violet Hopson, Stewart Rome, names remembered with deep affection four decades later. From Walton-on-Thames films were dispatched in quantity to the world, even to the United States before the Hollywood era. Conditions, if not primitive, were rudi- mentary in the earlier days; the grandiose notions of the industry today were un- dreamt of; and, most marvellous of all, leading actors and actresses played for as little as half a guinea a day (including fares), and were not averse to doing sorting, filing and running errands in their spare time. [ please turn to back flap MANY 16s ILLUSTRATIONS NET bih'iij II. .niij 37417 NilesBlvd §£g A 510-494-1411 Fremont CA 94536 www.nilesfilmnniseum.org Scanned from the collections of Niles Essanay Silent Film Museum Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from Jeff Joseph GAME THE DAWN CECIL M.
    [Show full text]
  • FALL CALENDAR Engage Your Campus with Powerful Movie Programming That Drives Important Conversations and Helps Foster an Inclusive Environment
    Diversity & Inclusion FALL CALENDAR Engage your campus with powerful movie programming that drives important conversations and helps foster an inclusive environment. July | Disability JanuaryIndependence Day (7/26) August | Women’sJanuary Equality Day (8/26) World Religion Day (1/19) World Religion Day (1/19) © 2020 Universal City Studios Productions LLLP. All Rights Reserved. © 2020 Columbia Pictures Industries, Inc. Bros. Ent. All rights reserved. © 2020 Warner © 2020 Paramount Pictures Bros. Ent. All rights reserved. © 2020 Warner © 2020 Disney/Pixar September |January Hispanic Heritage Month October | NationalJanuary Bullying Prevention Month World Religion Day (1/19) World Religion Day (1/19) © 2020 Disney/Pixar © 2020 Disney Enterprises Inc. © Lions Gate Entertainment, Inc. © 2020 Columbia Pictures Industries, Inc. © 2020 Paramount Pictures © 2020 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved. November |January Election Year December | JanuaryWorld AIDS Day (12/1) World Religion Day (1/19) World Religion Day (1/19) © 2020 Universal City Studios Productions LLLP. All Rights Reserved. © 2020 Universal City Studios Productions LLLP. All Rights Reserved. © Lions Gate Entertainment, Inc. © 2020 Columbia Pictures Industries, Inc. © Universal Studios © 2020 Columbia Pictures Industries, Inc. Diversity & Inclusion SPRING CALENDAR Engage your campus with powerful movie programming that drives important conversations and helps foster an inclusive environment. January | MartinJanuary Luther King Day (1/20) February | BlackJanuary History Month World Religion Day (1/19) World Religion Day (1/19) © 2020 Paramount Pictures Bros. Ent. All rights reserved. © 2020 Warner © Focus Features LLC. © A24 Films © Focus Features LLC. © 2020 Warner Bros. Ent. All rights reserved. © 2020 Warner March | Women’sJanuary History Month April | CelebrateJanuary Diversity Month World Religion Day (1/19) World Religion Day (1/19) © Universal Studios © Miramax Films © 2020 Paramount Pictures © Lions Gate Entertainment, Inc.
    [Show full text]
  • Ben Salisbury
    Craft / Geoff Barrow of Portishead with Ben Salisbury quite dry, quite traditional. I was expecting it might be like ‘The Kids from Fame’. But they weren’t, the vast majority of students wanted to be music teachers! The benefit was there was a brand new recording studio at Newcastle University, and there was only me and one other guy who were interested in using it, so we had the run of it. It was absolutely state-of-the- art, when samplers and digital stuff were just taking off. So that was really my introduction into composing. Music for Film and TV at Bournemouth in the early ’90s was a brilliant course, in that you had your own workstation. You were sat down, you had deadlines, and it was quite pressurised, so was actually quite similar to life as a commercial composer. Weirdly, that was probably exactly the same time Geoff [Barrow] was using samplers to make Portishead’s Dummy. What was your first real break? I came out of Bournemouth with a credit to my name, because I did music for a short film that went on to win an award, and was broadcast on Channel Four. It was directed by a guy called Ben Salisbury Miguel Sapochnik who I’ve worked with since on other short films. Now he directs episodes of DAVE ROBINSON meets the nature documentary composer Game of Thrones! One person, that’s all it took: one director who has his (laser) sights on sci-fi chose a bit of music I’d done for that film as temp music for his film about elephants and en Salisbury is a name you can expect Your father worked at the BBC Natural said, “Look, you’re very inexperienced, but to see more and more of on your History Unit: that must have been useful to we’ve got this music in there.
    [Show full text]
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • Cultural Representations of the Moors Murderers and Yorkshire Ripper Cases
    CULTURAL REPRESENTATIONS OF THE MOORS MURDERERS AND YORKSHIRE RIPPER CASES by HENRIETTA PHILLIPA ANNE MALION PHILLIPS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History, and Music College of Arts and Law The University of Birmingham October 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines written, audio-visual and musical representations of real-life British serial killers Myra Hindley and Ian Brady (the ‘Moors Murderers’) and Peter Sutcliffe (the ‘Yorkshire Ripper’), from the time of their crimes to the present day, and their proliferation beyond the cases’ immediate historical-legal context. Through the theoretical construct ‘Northientalism’ I interrogate such representations’ replication and engagement of stereotypes and anxieties accruing to the figure of the white working- class ‘Northern’ subject in these cases, within a broader context of pre-existing historical trajectories and generic conventions of Northern and true crime representation. Interrogating changing perceptions of the cultural functions and meanings of murderers in late-capitalist socio-cultural history, I argue that the underlying structure of true crime is the counterbalance between the exceptional and the everyday, in service of which its second crucial structuring technique – the depiction of physical detail – operates.
    [Show full text]
  • Kelly Freemantle
    Kelly Freemantle Eaglestone Management Elaine Eaglestone Phone: +44 7837 898793 Email: [email protected] Website: www.eaglestonemanagement.co.uk © AP Wilding Information Acting age 35 - 45 years Nationality British Year of birth 1981 (40 years) Languages English: native-language Height (cm) 101 Dialects English: always Weight (in kg) 83 Accents Irish: only when required Eye color green brown Indian: only when required Hair color Brown Arabic: only when required Hair length Long English: always Stature normal Russian: only when required Place of residence Leeds Romanian: only when required Housing options Anywhere Greek: only when required French: only when required Italian: only when required American: only when required Sport Aerobics, Ballet, Darts, Hiking, Swim, Weight training, Yoga Dance Salsa: medium Samba: basic Ballet: basic Voguing: basic Belly dance: basic Burlesque: basic Dancehall: basic Pole Dance: professional Bollywood dance: basic Profession Actor Other Education & Training 2017 –… David Johnson Drama 2006 –… NYC Acting Studio Film 2018 –… X Role: Gemma (SR) Director: Mark Duggan Distribution: Mark Duggan Films 2018 Vita Kelly Freemantle by www.castupload.com — As of: 2021-04- 21 Page 1 of 4 The Strangers Case Role: Barmaid (SR) Director: Peter Trifunovic Distribution: Kids On The Run Productions 2017 Unlucky Fred Role: Mrs Kershaw (SR) Director: Siena Ramsay Distribution: York University 2017 Supernatural Speed Dating Role: Shelley (SR) Director: Laurie Garrant Distribution: Leeds Ninja Film makers 2017
    [Show full text]
  • Set in Scotland a Film Fan's Odyssey
    Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor.
    [Show full text]