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  1. www.goldderby.com › article › 2024Ripley cinematography: Emmys worthy photography from Robert...

    22 Apr 2024 · “Ripley” does, however, with cinematographer Robert Elswit behind the camera using light and shadow to help build suspense, evoke classic film noir, or sometimes just to paint gorgeous ...

  2. variety.com › 2024 › awards'Ripley' DP Robert Elswit on Shooting and Lighting Freddie's...

    10 Jun 2024 · Elswit used LED boxes held up by construction cranes to “pretend it’s moonlight or ambient moonlight” to make it look real. However, with the LED boxes so high, they ended up creating a soft ...

  3. www.thewrap.com › king-richard-cinematography-robert-elswit-interviewKing Richard Cinematographer Breaks Down the Tennis Scenes

    27 Jan 2022 · Joe McGovern. January 27, 2022 @ 8:45 AM. During his 40-year career as a cinematographer, Robert Elswit has shot movies in practically every genre: “The Hand That Rocks The Cradle,” “Syriana ...

  4. www.cnn.com › 2008 › SHOWBIZRobert Elswit: How to make 'Blood' - CNN.com

    8 Apr 2008 · Robert Elswit, shown filming "There Will Be Blood," has worked on all of Paul Thomas Anderson's films. "About $5,000 a week," he says in a phone interview from Los Angeles, California. Then he ...

  5. variety.com › 2024 › artisans'Ripley' DP Robert Elswit on Shooting and Lighting Freddie's...

    10 Jun 2024 · Variety Artisans Inside the Frame: ‘Ripley’ DP Robert Elswit Breaks Down Shooting and Lighting Freddie’s Murder. The fifth episode of Netflix’s’ “ Ripley ” takes a darker turn when ...

  6. www.indiewire.com › features › generalRobert Elswit Criticizes Paul Thomas Anderson Phantom ... - ...

    21 Okt 2020 · Focus Features. Paul Thomas Anderson and Robert Elswit made a name for themselves as one of cinema’s strongest director-cinematographer duos with a run of acclaimed films that included “Hard ...

  7. www.indiewire.com › features › generalInterview: ‘Nightcrawler’ Director Dan Gilroy Talks Jake...

    29 Okt 2014 · Robert Elswit used the Alexa digital to shoot at night, but we shot our daytime scenes on [35mm] film. And that was a choice that Robert wanted … because he is an extraordinary proponent of film ...