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  1. 15 de may. de 2024 · David Fincher and Erik Messerschmidt, ASC Target V-Raptor to Shoot “The Killer” – The Fincher Analyst. April 10, 2024. RED Digital Cinema. In David Fincher ’s Netflix darkly comic thriller The Killer, Michael Fassbender is the nameless assassin who goes on an international hunt for revenge while insisting to himself that it isn’t personal.

  2. 20 de may. de 2024 · Master of creating imagery that illustrates beyond the narrative, Erik Messerschmidt is an Academy-Award-winning cinematographer and long-time David Fincher collaborator equipped with a captivating photographic eye and razor-sharp instinct.

  3. 22 de may. de 2024 · Academy of Motion Picture Arts and Sciences (AMPAS) First awarded. 1929. Most recent winner. Hoyte van Hoytema. Oppenheimer ( 2023) Website. oscars .org. The Academy Award for Best Cinematography is an Academy Award awarded each year to a cinematographer for work on one particular motion picture .

  4. The Killer is confirmed to be filming in France in the Fall of 2021. It is also announced that Erik Messerschmidt will reteam with Fincher and act as cinematographer after the pair worked together on Mank. (Source: IndieWire) November 8, 2021 Award-winning English actress Tilda Swinton is confirmed to be starring in the movie in an undisclosed ...

  5. 27 de may. de 2024 · O primeiro grande ponto de destaque do longa é sem dúvidas sua parte técnica. Mann, um diretor que sempre primou por essa parte, não deixou de mostrar esse primor aqui. A fotografia de Erik Messerschmidt é uma das melhores do último ano.

  6. www.cineclubuach.cl › events › ferrari-2024/05/18FERRARI – Cine Club Uach

    18 de may. de 2024 · Fotografía: Erik Messerschmidt Música: Daniel Pemberton Producción: Monika Bacardi, Andrea Iervolino, John Lesher, Michael Mann, Thorsten Schumacher, Lars Sylvest Montaje: Más información: Navegación de entradas. Anterior EL BASTARDO. Sig FERRARI. Deja una respuesta Cancelar la respuesta.

  7. 24 de may. de 2024 · Not wholly unexpectedly, the art of Ferrari can be found in Mann’s ability to shift between elegant and visceral visual language, through the work of cinematographer Erik Messerschmidt (The ...