Celebrate your love of filmmaking by watching Once Upon a Time in Hollywood: A Love Letter
to Making Movies, an engaging new behind the scenes featurette showcasing the artistry
and craftsmanship of Quentin Tarantino’s acclaimed film Once Upon a Time… in Hollywood.
Showcasing interviews with the film’s stellar cast and crew, this immersive 30-minute
documentary takes viewers inside Tarantino’s artfully crafted vision of 1969 Los Angeles.
In addition to insights from stars Brad Pitt, Leonardo DiCaprio, Kurt Russell, and Margot
Robbie, the video also spotlights the outstanding Oscar-nominated work of cinematographer
Robert Richardson, production designer Barbara Ling, and costume designer Arianne Phillips.
Click here to watch now.
Uncut Gems, the latest feature
from directing duo Josh and
Benny Safdie, tells the story of
Howard Ratner (Adam Sandler),
a charismatic jeweler and
gambler who makes a high-stakes bet that could lead to
the windfall of a lifetime. The
Mill NY colorist and director of
DI Damien Van Der Cruyssen
worked closely with the Safdie
brothers and cinematographer
Darius Khondji to set the film’s
polished color palette.
Visually, Uncut Gems has a
classic New York City look with
a modern twist. “The Diamond
District hasn’t changed much
over the last 40 years, so it au-
tomatically had that ‘70s ‘noir’
feel,” explains Van Der Cruys-
sen. “But we wanted to break
away from the steely, gritty
New York to a more real-life
aesthetic — less forced and
The team took advantage
of Baselight’s BLG metadata
workflow to speed the grade
from dailies right through to
final deliverables. “I actually
graded the dailies on Base-
light,” Van Der Cruyssen notes.
“We saved those precious set-
tings in BLG files as a starting
point for the final DI — that
saved at least a day. The show
LUTs were then created and
adjusted through production so
we had a solid base.”
Behind every great filmmaker is a great
editor, and nowhere is this more evident
than in the work of Thelma Schoonmaker.
During her 50+ years of experience,
Schoonmaker has crafted some of the
greatest scenes and sequences in cinema,
setting the timing, rhythm, and tempo in a
uniquely stylized and highly personal fashion.
Through the years she has emerged as
an innovative visual artist, celebrated for
her work on nearly all of Martin Scorsese's
filmography, beginning with the fledgling
filmmaker's debut Who’s That Knocking at
My Door (1967) on to Raging Bull (1980) and
every one of Scorsese's films since.
Along the way, she has garnered three
Academy Awards for Best Editing, for
Raging Bull, The Aviator (2004), and The
Departed (2006), along with five additional
nominations, including one for her work
on Scorsese's latest, The Irishman (2019).
The American Cinematheque, a nonprofit viewer-supported cultural organization
dedicated to the celebration of the moving
picture, recently presented an in-person
conversation with Schoonmaker about her
career and creative process, followed by a
special screening of The Irishman. Learn more
about upcoming American Cinematheque
events by clicking here.
Images courtesy of American Cinematheque