Some of my favourite long shots from Red White and Royal Blue (2023)

The Beatles photographed by Stephen Goldblatt during the Mad Day Out sessions, 1968.

David Bowie and Catherine Deneuve on the set of The Hunger (1983). Photo by Stephen Goldblatt, 1982 | ascmag.com

BTS of #RWRBMovie: V&A

Via Amazon:

NG: I think their time together at the Victoria and Albert Museum really sticks out to me as a defining moment of their relationship. My character, Henry, really shares the last frontier of his vulnerabilities and really opens Pandora's box in a way saying plainly to Alex, ‘This is my life. I'm terrified, but I'm willing to take this risk.’

From EW:

For Galitzine, who grew up going to the museum, it was a surreal experience. "I was born and raised in London and the V&A is an iconic place to visit — the galleries, the displays, exhibitions that have been on there. To be able to witness it in such a quiet state was really bizarre. Night shoots are disorienting at the best of times. It's 5:00 in the morning, you're trying to act and be emotional, and you're in this truly beautiful, picturesque setting. It was really cool to be able to explore it. It felt a bit like Night in the Museum. It was a weird, surreal but extremely enjoyable experience."

Director Matthew López didn't know for much of the pre-production process whether the V&A would even allow them to film there. "They were very, very protective as you could imagine," he tells EW. " Especially when we told them where we wanted to shoot, which is a lot of things we could break, and I really didn't want to be the guy who ended up breaking a priceless piece of statuary. But we ended up getting permission, and that was amazing." In McQuiston's novel, this key scene takes place in the Renaissance Gallery, which López and cinematographer Stephen Goldblatt visited while scouting in London. But while we still see Henry and Alex run through that gallery, they decided to choose another due to the V&A's filming parameters. "It's not the most photogenic gallery," explains López. "It's kind of dark and it's very, very big, so there's a lot of blank space between the statues. The chances that you're going to get just a white wall behind you are good. And it's very hard to shoot in there because the rule that the V&A had for us was that we couldn't bring in any exterior lighting. We could not bring it in our own lights." But Goldblatt had an idea to work around that limitation. "He led me to this area of the museum where we did end up filming it," the director continues. "That long, beautiful corridor with all those gorgeous statues filled with very homoerotic art, as well as that narrow alleyway of busts. We came back another night after closing, and he had them turn off everything, all the lights except for the spotlights that were there, illuminating the artwork. But turning off the floodlights that lit the gallery for people to walk around in. What you had in an instant was darkness everywhere and light shining on the art." Goldblatt manipulated the light further with a dimmer switch, creating an almost sacred environment in which Henry and Alex could express their love for each other. "We did not bring in any of our own lighting," emphasizes López. "That scene is shot with the lighting that's available to us at the V&A. We decided that the scene would be the boys for the most part in shadow and the statues illuminated. It was a beautiful use of a problem to create a better solution that you could not have come up with on your own if you had no problem."

From Glamour:

“My absolutely favorite scene to film was the night we shot inside the Victoria and Albert Museum,” says López of the scene depicted here. “We arrived at 10 p.m. and filmed until sunrise. To have access to that museum at night without any other people around made you feel what Henry and Alex must have been feeling the night they go there together. What made it so special is that, for one of the first times in the shoot, it was just me, Taylor, and Nick working. No other actors, no background players. It’s a magical scene in the book, and it was a magical night for all of us.” 

From HELLO:

In the film, as in the book, the pair dance together here as they vow to make their relationship work, come what may. This scene is also Matthew's favorite scene, "because it's the only scene in the film that is actually filmed at the location that it's set".  "That night was very beautiful and I think it's reflected in what you see on screen; there's a magic to that place at night and I like to think we captured it," he adds.

From NYT:

The two men under the dimmed lights were the actors Taylor Zakhar Perez and Nicholas Galitzine, and they swayed until the director, Matthew López, called “Cut!” around 2 a.m. for a lunch break. “It was just the three of us and our crew,” said López, who’s also the film’s co-writer. “It made for an incredibly intimate, really special night.”

From W Magazine:

There’s a sweet moment in the Victoria and Albert Museum. Why did you shoot in that sculptural exhibition? That’s not the gallery from the book. I went there with Stephen Goldblatt, my director of photography, and it wasn’t very cinematic. Stephen took me to another part of the museum, where we shot, with lower ceilings a more contained space with beautiful statues: David and Goliath, three women, the corridor of busts and torsos—very cinematic.

July 28, 1968: Mad Day Out. The Beatles, photographed by Don McCullin, Stephen Goldblatt, and Tom Murray.

“These four, at the height of their power, were very different personalities. John Lennon and Paul McCartney were clearly the leaders. George Harrison was the most subdued, and Ringo appeared to step back a little.” - Don McCullin, A Day In The Life Of The Beatles (2010)

“George, for me, stood out. […] The amazing thing about George is there seemed to be this aura around him that was very unusual. He was an incredibly peaceful individual; almost spiritual in a way you don’t often see.” - Tom Murray, The Beatles: Tom Murray’s Mad Day Out (2018) (x)

beatles, stephen goldblatt

Angels in America directed by Mike Nichols and written by Tony Kushner, based on his Pulitzer Prize-winning play

“I hate America, Louis. I hate this country. Nothing but a bunch of big ideas and stories and people dying, and then people like you. The white cracker who wrote the National Anthem knew what he was doing. He set the word free to a note so high nobody could reach it. That was deliberate.”

Closer (Mike Nichols, 2004).

The Deep End of the Ocean (1999)

Directed by Ulu Grosbard

Cinematography by Stephen Goldblatt

batman forever (joel schumacher, 1995)

#102. The Intern (2015)

dir. Nancy Meyers dop. Stephen Goldblatt

Gene Gutowski with his sculpture that is a portrait of Roman Polanski. Photos by Krzysztof Pacula, Warsaw 2004

Roman Polanski & Gene Gutowski with the sculpture made by Gutowski. Photos by Stephen Goldblatt, London, 1967 (?)

Roman Polanski with the sculpture he received from Gene Gutowski. Photos by Bill Ray, London 1968

(from the article)

In McQuiston's novel, this key scene takes place in the Renaissance Gallery, which López and cinematographer Stephen Goldblatt visited while scouting in London. But while we still see Henry and Alex run through that gallery, they decided to choose another due to the V&A's filming parameters.

"It's not the most photogenic gallery," explains López. "It's kind of dark and it's very, very big, so there's a lot of blank space between the statues. The chances that you're going to get just a white wall behind you are good. And it's very hard to shoot in there because the rule that the V&A had for us was that we couldn't bring in any exterior lighting. We could not bring it in our own lights."

But Goldblatt had an idea to work around that limitation. "He led me to this area of the museum where we did end up filming it," the director continues. "That long, beautiful corridor with all those gorgeous statues filled with very homoerotic art, as well as that narrow alleyway of busts. We came back another night after closing, and he had them turn off everything, all the lights except for the spotlights that were there, illuminating the artwork. But turning off the floodlights that lit the gallery for people to walk around in. What you had in an instant was darkness everywhere and light shining on the art."

Goldblatt manipulated the light further with a dimmer switch, creating an almost sacred environment in which Henry and Alex could express their love for each other.

"We did not bring in any of our own lighting," emphasizes López. "That scene is shot with the lighting that's available to us at the V&A. We decided that the scene would be the boys for the most part in shadow and the statues illuminated. It was a beautiful use of a problem to create a better solution that you could not have come up with on your own if you had no problem."

The Jeff Beck Group【Shapes Of Things】和訳Yardbirdsとの違い 平和の夢と絶望

The Jeff Beck Group【Shapes Of Things】和訳Yardbirdsとの違い 平和の夢と絶望 Lyraのブログ更新 #jeffbeck #jeffbeckrip #thejeffbeckgroup #theyardbirds #shapesofthings #ジェフベック #追悼 #truth #jimmypage #AynsleyDunbar #KeithMoon #nickyhopkins #JohnPaulJones #MickyWaller #ronniewood #RodStewart

              Jeff Beckが亡くなった。偉大なギタリストとして世界的に知名度が非常に高く、特に日本ではEric Claptonや Jimmy Pageと並ぶ三大ギタリストとして大人気のアーティストだ。 個人的に小さい頃から聴いてきたギタリストであり、Jeffの活動の幅の広さから「驚異的な存在感がある人」と言う印象が強くて、「Jeff Beckは不滅。死ぬ訳がない」と思っていたから天国へ召された事が未だにLyraには信じられません。 「この世界にいて当たり前」なのにもうこの世には居ない。その事が受け入れられないのだ。 Jeff Beckの功績を讃えて今日はJeffのクールなギターが聴ける曲を和訳&解説します。皆んなで彼の名曲を、聴きながらJeff Beckが天国で幸せであるように祈りましょう。 Jeff Beck Rest In Peace! Continue…

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Charlie Wilson's War (2007) ------------------------------- dir. Mike Nichols cin. Stephen Goldblatt cou. USA