Misplaced Pages

#143856

41-475: Marc Fossard (1912–2007) was a French cinematographer who worked on over a hundred films during his career. This biographical article related to film in France is a stub . You can help Misplaced Pages by expanding it . This article about a cinematographer is a stub . You can help Misplaced Pages by expanding it . Cinematographer The cinematographer is a subordinate of the director , tasked with capturing

82-550: A character and showing archival footage from the film. The Man Who Fell to Earth retains a cult following for its use of surreal imagery and Bowie's first starring film role as the alien Thomas Jerome Newton. It is considered an important work of science fiction cinema and one of the best films of Roeg's career. Thomas Jerome Newton is a humanoid alien who travels to Earth from a distant planet. Landing in New Mexico , he appears as an Englishman . Newton has arrived on Earth on

123-429: A former college professor who had sex with his female students, has landed a job as a fuel technician with World Enterprises and slowly becomes Newton's confidant. Bryce senses Newton's alienness and arranges a meeting with Newton at his home where he has hidden a special X-ray camera. When he takes a picture of Newton with the camera, it reveals Newton's alien physiology. Newton's appetite for alcohol and television (he

164-402: A mission to take water back to his home planet, which is experiencing a catastrophic drought. Newton swiftly uses the advanced technology of his home planet to patent many inventions on Earth. He acquires tremendous wealth as the head of an Arizona technology-based conglomerate, World Enterprises Corporation, aided by leading patent attorney Oliver Farnsworth. This wealth is needed to construct

205-447: A quiet protest vote against the way projects this ambitious are no longer possible in the mainstream movie industry." The movie has been applauded for its experimental approach and compared to more recent sci-fi films such as Under the Skin . Rolling Stone ranked it second on its 50 best sci-fi movies of the 1970s, Timeout ranked it 35th on its 100 best sci-fi movies, it is 61st on

246-480: A scene in accordance with the director's vision. Relations between the cinematographer and director vary. In some instances, the director will allow the cinematographer complete independence, while in others, the director allows little to none, even going so far as to specify exact camera placement and lens selection. Such a level of involvement is less common when the director and cinematographer have become comfortable with each other. The director will typically convey to

287-519: A space vehicle with the intention of shipping water back to his home planet. While revisiting New Mexico, Newton meets Mary-Lou, a lonely young woman from Oklahoma who works an array of part-time jobs in a small town hotel to support herself. Mary-Lou introduces Newton to many customs of Earth, including churchgoing, alcohol, and sex. She and Newton move into a house together which he has built close to where he first landed in New Mexico. Dr. Nathan Bryce,

328-617: Is an Academy Award awarded each year to a cinematographer for work on one particular motion picture . A number of cinematographers have become directors, including Reed Morano who lensed Frozen River and Beyoncé's Lemonade before winning an Emmy for directing The Handmaid's Tale . Barry Sonnenfeld , originally the Coen brothers ' DP; Jan de Bont , cinematographer on films such as Die Hard and Basic Instinct , directed Speed and Twister . Nicolas Roeg , cinematographer on films such as The Caretaker (1963) and The Masque of

369-410: Is capable of watching multiple televisions at once) becomes crippling, and he and Mary-Lou fight. Realizing that Bryce has learnt his secret, Newton reveals his alien form to Mary-Lou. She is unable to accept his true form, and flees in panic and horror. Newton completes the spaceship and attempts to take it on its maiden voyage amid intense press exposure. However, just before his scheduled take-off, he

410-476: Is seized and detained, apparently by the government and a rival company. His business partner Farnsworth is murdered. The government, which had been monitoring Newton via his driver, holds Newton captive in a locked luxury apartment, constructed deep within a hotel. During his captivity, they keep him sedated with alcohol (to which he has become addicted) and subject him to rigorous medical tests, cutting into his human disguise. One examination, involving X-rays, causes

451-421: Is suffering from a severe drought, but finds himself at the mercy of human vices and corruption. It stars David Bowie , Candy Clark , Buck Henry , and Rip Torn . It was produced by Michael Deeley and Barry Spikings . The same novel was later adapted as a television film in 1987 . A 2022 television series with the same name serves as a continuation of the film 45 years later, including featuring Newton as

SECTION 10

#1732858304144

492-457: Is unlocked, and he leaves. Unable to return home, a despondent and alcoholic Newton creates a recording with alien messages, which he hopes will be broadcast via radio to his home planet. Bryce, who has since married Mary-Lou, buys a copy of the album and meets Newton at a restaurant. Newton is still rich and young-looking despite the passage of many years. However, he has also fallen into depression and continues to suffer from alcoholism. Seated on

533-517: The Chicago Sun-Times awarded the film 2 + 1 ⁄ 2 stars of four; while he complimented parts of the film and the directing, he was dismissive of the plot, writing in his review that the film is "so preposterous and posturing, so filled with gaps of logic and continuity, that if it weren't so solemn there'd be the temptation to laugh aloud." Gene Siskel of the Chicago Tribune gave

574-546: The Online Film Critics Society list of "greatest science fiction films of all time". Empire placed it 42nd on its list of 100 best British films. British Film Institute included it on its list of "50 late night classics", demonstrating its popularity as a midnight movie. Bowie's role in the film led to his casting as Nikola Tesla in The Prestige (2006), with director Christopher Nolan stating "Tesla

615-566: The contact lenses he wears as part of his human disguise to permanently affix themselves to his eyes. Toward the end of Newton's years of captivity, he is visited again by Mary-Lou. She is much older, and her appearance has been ravaged by alcohol and time. They have mock-violent, playful sex that involves firing a gun with blanks, and afterwards occupy their time drinking and playing table tennis . Mary-Lou declares that she no longer loves him, and he replies that he does not love her either. Eventually Newton discovers that his "prison", now derelict,

656-599: The Red Death (1964), directed Don't Look Now (1973) and The Man Who Fell to Earth (1976). Ellen Kuras, ASC photographed Eternal Sunshine of The Spotless Mind as well as a number of Spike Lee films such as Summer of Sam and He Got Game before directing episodes of Legion and Ozark. In 2014, Wally Pfister , cinematographer on Christopher Nolan 's three Batman films , made his directorial debut with Transcendence , whilst British cinematographers Jack Cardiff and Freddie Francis regularly moved between

697-540: The advancement of cinematography, including: The A.S.C. defines cinematography as: A creative and interpretive process that culminates in the authorship of an original work of art rather than the simple recording of a physical event. Cinematography is not a subcategory of photography. Rather, photography is but one craft that the cinematographer uses in addition to other physical, organizational, managerial, interpretive and image-manipulating techniques to effect one coherent process. The Academy Award for Best Cinematography

738-432: The advent of artificial lighting and faster (more light-sensitive) film stocks , in addition to technological advancements in optics, the technical aspects of cinematography necessitated a specialist in that area. Cinematography was key during the silent movie era; with no sound apart from background music and no dialogue, the films depended on lighting, acting, and set. The American Society of Cinematographers (ASC)

779-453: The cinematographer what is wanted from a scene visually and allow the cinematographer latitude in achieving that effect. The scenes recorded by the cinematographer are passed to the film editor for editing . In the infancy of motion pictures, the cinematographer was usually also the director and the person physically handling the camera. As the art form and technology evolved, a separation between director and camera operator emerged. With

820-429: The desert, the movie crew had to contend with a group of Hells Angels who were camping nearby. Bowie, who was using cocaine during the movie's production, was in a fragile state of mind when filming was underway, going so far as to state in 1983 that "I'm so pleased I made that [film], but I didn't really know what was being made at all" and that "My one snapshot memory of that film is not having to act. Just being me

861-555: The film has a 79% approval rating based on 71 reviews with an average rating of 7.80/10. The critics' consensus states: "Filled with stunning imagery, The Man Who Fell to Earth is a calm, meditative film that profoundly explores our culture's values and desires." On Metacritic , the film has achieved a weighted average rating of 81 out of 100 from 9 critic reviews, citing "universal acclaim". Since its original 1976 release, The Man Who Fell to Earth has achieved cult status . This status has been echoed by critics, especially as it

SECTION 20

#1732858304144

902-502: The film three stars out of four and wrote that it "may leave you punch drunk, knocked out by its visuals to the point of missing what a simple story it is." Richard Eder of The New York Times praised the film, writing, "There are quite a few science-fiction movies scheduled to come out in the next year or so. We shall be lucky if even one or two are as absorbing and as beautiful as The Man Who Fell to Earth ." Robert Hawkins, reviewing for Variety , praised Roeg's direction and felt

943-455: The film was "a muddle," and suspected it was because he reviewed a version trimmed by 20 minutes for its U.S. run: "That would do a lot to explain why the movie proceeds from the provocatively cryptic to the merely incomprehensible." In a retrospective review, Kim Newman of Empire gave the movie five stars out of five, describing the film as "consistently disorientating and beguilingly beautiful." Review aggregator Rotten Tomatoes reports

984-534: The film was "stunning stuff throughout, and Bowie's choice as the ethereal visitor is inspired...Candy Clark, as his naive but loving mate, confirms the winning ways that won her an Oscar nomination in American Graffiti . Her intimate scenes with Bowie, especially the introductory ones, are among pic's highlights." Charles Champlin of the Los Angeles Times described Bowie as "perfect casting" but thought

1025-489: The finished film he refused to pay for it, claiming it was different from the film the studio wanted. British Lion sued Paramount and received a small settlement. The film obtained a small release in the United States through Cinema V in exchange for $ 850,000 and due to foreign sales the film's budget was just recouped. The British Board of Film Censors passed the film uncut for adult UK audiences with an X rating . It

1066-650: The music, contractual wrangles during production caused him to withdraw from this aspect of the project. Nonetheless, Bowie would go on to use stills from the film for the covers of two of his albums, Station to Station (1976) and Low (1977). The music used in the film was coordinated by John Phillips , former leader of the pop group The Mamas & the Papas , with personal contributions from Phillips and Japanese percussionist-composer Stomu Yamash'ta as well as some stock music. Phillips called in former Rolling Stones guitarist Mick Taylor to assist with developing ideas for

1107-483: The restaurant's outdoor patio, Newton inquires about Mary-Lou, before collapsing in a drunken stupor on the chair. The novel was published in 1963 and had been optioned several times for the screen (including as a pilot for a TV series) but no adaptation had resulted. Roeg was shown the novel by Douglas Cammell and originally developed under a deal with Columbia. Nicolas Roeg approached Michael Deeley of British Lion, with whom he had made Don't Look Now (1973). Deeley

1148-500: The role of Newton before Bowie. Filming began on 6 July 1975. The film was primarily shot in New Mexico , with filming locations in Albuquerque , White Sands , Artesia and Fenton Lake . The film's production had been scheduled to last eleven weeks, and throughout that time, the film crew ran into a variety of obstacles: Bowie was sidelined for a few days after drinking bad milk; film cameras jammed up; and for one scene shot in

1189-501: The soundtrack. The music was recorded at CTS Lansdowne Recording Studios in London, England. Due to a creative and contractual dispute between Roeg and the studio, no official soundtrack was released for the film, even though the 1976 Pan Books paperback edition of the novel (released to tie in with the film) states on the back cover that the soundtrack is available on RCA Records . The soundtrack, derived from recently rediscovered masters,

1230-411: The two positions. The Man Who Fell to Earth The Man Who Fell to Earth is a 1976 British science fantasy drama film directed by Nicolas Roeg and adapted by Paul Mayersberg . Based on Walter Tevis 's 1963 novel of the same name , the film follows an extraterrestrial named Thomas Jerome Newton (David Bowie) who crash-lands on Earth seeking a way to ship water to his planet, which

1271-456: The way I was feeling. It wasn't that far off. I actually was feeling as alienated as that character was. It was a pretty natural performance. ... a good exhibition of somebody literally falling apart in front of you. I was totally insecure with about 10 grams [of cocaine] a day in me. I was stoned out of my mind from beginning to end. Candy Clark, Bowie's co-star, remembers things differently: "David vowed to Nic, 'No drug use'," says Clark and he

Marc Fossard - Misplaced Pages Continue

1312-411: Was a man of his word, "clear as a bell, focused, friendly and professional and leading the team. You can see it clearly because of (DP) Tony Richmond's brilliant cinematography. Look at David: his skin is luminescent. He's gorgeous, angelic, heavenly. He was absolutely perfect as the man from another planet." She added that Roeg had hired "an entirely British crew with him to New Mexico and I remember David

1353-422: Was a popular hit with midnight movie audiences years after it was released. Joshua Rothkopf of Time Out believed that the cult classic status, which he described as a "vaguely demeaning term", does the film a disservice. He labeled the film as "the most intellectually provocative genre film of the 1970s." When re-released in 2011, Ebert gave the film three stars, stating that readers should "consider this just

1394-484: Was announced in the summer of 2016 that the film was in the process of being digitally remastered to 4K quality for its 40th anniversary (which was reported to have begun before Bowie's death). This remastered version premiered at BFI Southbank before being released in cinemas across the UK on 9 September of that year. The film's 2011 and 2016 re-releases grossed $ 100,072 domestically and $ 73,148 internationally. Roger Ebert of

1435-470: Was asked to do. I was quite willing to stay up as long as anybody." Bowie brought a personal library with him; "I took 400 books down to that film shoot. I was dead scared of leaving them in New York because I was knocking around with some pretty dodgy people and I didn't want any of them nicking my books. Too many dealers, running in and out of my place." Although Bowie was originally approached to provide

1476-578: Was eventually released on CD and LP in 2016 to coincide with the 40th anniversary of the film's premiere. The music by Yamash'ta had already appeared on his own albums , as noted below. Composed and recorded by Stomu Yamashta: Performed by John Phillips: Other music: For the scenes in which Newton's thoughts drift back to his alien home, Phillips and Roeg enlisted Desmond Briscoe to craft simple electronic atmospheres that were then combined with whale songs, to eerie effect. According to Michael Deeley , when Barry Diller of Paramount saw

1517-581: Was formed in 1919 in Hollywood , and was the first trade society for cinematographers. Similar societies were formed in other countries. For example, the British Society of Cinematographers (BSC). Their aims include the recognition of the cinematographer's contribution to the art and science of motion picture making. There are a number of national associations of cinematographers that represent members (irrespective of their official titles) and are dedicated to

1558-463: Was interested although he insisted on producing, meaning Roeg's preferred original producer, Si Litvinoff, was unable to make the movie. Paramount Pictures had distributed Don't Look Now (1973), and agreed to pay $ 1.5 million for the US rights. Michael Deeley used this guarantee to raise finance to make the film. Roeg originally considered casting author Michael Crichton and actor Peter O'Toole in

1599-418: Was perfectly adequate for the role. I wasn't of this earth at that particular time." He said of his performance: I just threw my real self into that movie as I was at that time. It was the first thing I'd ever done. I was virtually ignorant of the established procedure [of making movies], so I was going a lot on instinct, and my instinct was pretty dissipated. I just learned the lines for that day and did them

1640-401: Was this other-worldly, ahead-of-his-time figure, and at some point it occurred to me he was the original Man Who Fell to Earth. As someone who was the biggest Bowie fan in the world, once I made that connection, he seemed to be the only actor capable of playing the part." It also led to Bowie being cast by Jack Hofsiss in the play The Elephant Man . Hofsiss said: "The piece of work he did that

1681-421: Was very happy about that." Roeg also cast Bowie's bodyguard, Tony Mascia, as his character's onscreen chauffeur. Bowie and Roeg had a good relationship on set. Bowie recalled in 1992 that "we got on rather well. I think I was fulfilling what he needed from me for that role. I wasn't disrupting ... I wasn't disrupted . In fact, I was very eager to please. And amazingly enough, I was able to carry out everything I

Marc Fossard - Misplaced Pages Continue

#143856