Stefania Sandrelli & Jean-Louis Trintignant in The Conformist (1970, dir. Bernardo Bertolucci) (via)
“To me, making a film is like resolving conflicts between light and dark, cold and warmth, blue and orange or other contrasting colors. There should be a sense of energy, or change of movement. A sense that time is going on - light becomes night, which reverts to morning. Life becomes death.
Making a film is like documenting a journey and using light in the style that best suits that particular picture…the concept behind it.”
-The Conformist cinematographer Vittorio Storaro
Above: The partial set from Citizen Kane consists of a foreground doorway and the butler (Paul Stewart), while Kane (Orson Welles) stands on a distant soundstage floor.
Below: The final, deep-focus image was completed with a matte painting by Chesley Bonestell. The live-action elements of the doorway in the foreground and Kane in the background were optically composited with a painted hallway, columns, and floor. The distant reflection of Kane on the floor was painted as well.
(via)
