Top image: FILM - Pirosmani (1969, directed by Giorgi Shengelaia)
Bottom image: PAINTING- Niko Pirosmani: Dinner of Dukhan Owners - Markozishvili and others (1895-1903, in The State Museum of Fine Arts, Tbilisi, Georgia).
Check out our other Visual Showdown between Kubrick's "The Shining" and a famous Swedish film right here
According to Stephen Robello’s famous book “Alfred Hitchcock & The Making of Psycho”, Bates Motel was modeled after American painter Edward Hopper’s House by The Railroad, painted in 1925 (currently at MoMA, NY). See for yourself.
I am not the author of this image. For a famous painting that inspired Eric Rohmer, click here
Painting meets photography: Julianne Moore by Peter Lindbergh for Harper’s Bazaar US May 2008.
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Check out Tilda Swinton paying tribute to British Fashion here
Theo ANGELOPOULOS posing in front of a portrait of Jean Renoir by Rene Burri. Photo by Guy Le Querrec. 1998.
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For a review of “Antiviral” by Brandon Cronenberg, click here
We would like to start with a series of posts examining the intricate rapport between painting and cinema.
Nestor Almendros, Erich Rohmer’s director of photography has never hidden the fact that he has been directly inspired by cinema when shooting “Marquise d’O”(1976). Let us re-visit the first image, the famed still shot of the Marquise in complete distress. And then, consider “The Nightmare” by Swiss painter Henry Fuseli (1781). There will be more to come each week.
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Join Robert Altman, Shelley Duvall and Sissy Spacek, cast and crew back in 1977 on the set of the amazing film “3 Women”.
Thank you Tarun Neo for these photos and The Criterion Collection.
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Join us on Facebook for more goodies of Altman and his movies. For some photos of Terry Gilliam on the set of Baron Munchausen, click here
Akira Kurosawa painting on set of Dodes’ka-den (1970). Unknown photographer. Thank you Tarun Neo for your contribution.
Daisaku Kimura, first assistant cameraman on Dodes’ka-den: I thought he would be demanding about getting the colors he wanted, but he said nothing about that. On Dodes’ka-den, what he did was to use color without relying on the film stock itself. He painted every object to be filmed. He didn’t trust the film stock. He painted everything. The sunset in the film was created on a soundstage. He told us to paint it however we liked, so I joined in. But when Kurosawa tells you to paint, it makes you nervous. He was an artist himself, so everyone was nervous. But he said not to worry, to be like kids painting picture books, so we went ahead.
Check out Akira Kurosawa & Francis Ford Coppola with their Polaroid photos here and don’t forget to like us on facebook for more photos here
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