The American Society of Cinematographers (ASC), representing "an elite professional organization comprising cinematographers at the top of their field," celebrates its 100th anniversary today, and with the birthday celebration comes an added bonus: a list of the 100 best shot films of all time.
Just what makes up the best shot films of all time is highly debatable and is one of the reasons why only the films chosen one-through-ten are ranked while picks 11 through 100 are listed alphabetically.
We've previously featured a number of cinematography lists here at No Film School, but this one, as being the first of its kind voted on by peers, feels more substantial. Cited as being "100 milestone films in the art and craft of cinematography of the 20th century," the list represents a wide range of narrative cinema both foreign and domestic.
Below are the top 10 (ranked) and picks 11-100 listed alphabetically below that. How many have you seen?
1. Lawrence of Arabia (1962), shot by Freddie Young, BSC (Dir. David Lean)
2. Blade Runner (1982), shot by Jordan Cronenweth, ASC (Dir. Ridley Scott)
3. Apocalypse Now (1979), shot by Vittorio Storaro, ASC, AIC (Dir. Francis Ford Coppola)
4. Citizen Kane (1941), shot by Gregg Toland, ASC (Dir. Orson Welles)
5. The Godfather (1972), shot by Gordon Willis, ASC (Dir. Francis Ford Coppola)
6. Raging Bull (1980), shot by Michael Chapman, ASC (Dir. Martin Scorsese
7. The Conformist (1970), shot by Vittorio Storaro, ASC, AIC (Dir. Bernardo Bertolucci)
8. Days of Heaven (1978), shot by Néstor Almendros, ASC (Dir. Terrence Malick)
9. 2001: A Space Odyssey (1968), shot by Geoffrey Unsworth, BSC with additional photography by John Alcott, BSC (Dir. Stanley Kubrick)
10. The French Connection (1971), shot by Owen Roizman, ASC (Dir. William Friedkin)
Titles 11–100 (in order of release)
Metropolis (1927), shot by Karl Freund, ASC; Günther Rittau
Napoleon (1927), shot by Leonce-Henri Burel, Jules Kruger, Joseph-Louis Mundwiller,
Sunrise (1927), shot by Charles Rosher Sr., ASC; Karl Struss, ASC
Gone with the Wind (1939), shot by Ernest Haller, ASC
The Wizard of Oz (1939), shot by Harold Rosson, ASC
The Grapes of Wrath (1940), shot by Gregg Toland, ASC
How Green Was My Valley (1941), shot by Arthur C. Miller, ASC
Casablanca (1942), shot by Arthur Edeson, ASC
The Magnificent Ambersons (1942), shot by Stanley Cortez, ASC
Black Narcissus (1947), shot by Jack Cardiff, BSC
The Bicycle Thief (1948), shot by Carlo Montuori,
The Red Shoes (1948), shot by Jack Cardiff, BSC
The Third Man (1949), shot by Robert Krasker, BSC
Rashomon (1950) shot by Kazou MIyagawa
Sunset Boulevard (1950), shot by John Seitz, ASC
On the Waterfront (1954), shot by Boris Kaufman, ASC
Seven Samurai (1954), shot by Asakazu Nakai
The Night of the Hunter (1955), shot by Stanley Cortez, ASC
Bridge on the River Kwai (1957), shot by Jack HIlyard, BSC
Touch of Evil (1958), shot by Russell Metty, ASC
Vertigo (1958), shot by Robert Burks, ASC
Breathless (1960), shot by Raoul Coutard
Last Year at Marienbad (1961), shot by Sacha Vierny
8 ½ (1963), shot by Gianni Di Venanzo
Hud (1963), shot by James Wong Howe, ASC
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), shot by Gilbert Taylor, BSC
I Am Cuba (Soy Cuba; 1964), shot by Sergei Urusevsky
Doctor Zhivago (1965), shot by Freddie Young, BSC
The Battle of Algiers (1966), shot by Marcello Gatti
Who's Afraid of Virginia Woolf? (1966), shot by Haskell Wexler, ASC
Cool Hand Luke (1967), shot by Conrad Hall, ASC
The Graduate (1967), shot by Robert Surtees, ASC
In Cold Blood (1967), shot by Conrad Hall, ASC
Once Upon a Time in the West (1968), shot by Tonino Delli Colli, AIC
Butch Cassidy and the Sundance Kid (1969), shot by Conrad Hall, ASC
The Wild Bunch (1969), shot by Lucien Ballard, ASC
A Clockwork Orange (1971), shot by John Alcott, BSC
Klute (1971), shot by Gordon Willis, ASC
The Last Picture Show (1971), shot by Robert Surtees, ASC
McCabe and Mrs. Miller (1971), shot by Vilmos Zsigmond, ASC, HSC
Cabaret (1972), shot by Geoffery Unsworth, BSC
Last Tango in Paris (1972), shot by Vittorio Storaro, ASC, AIC
The Exorcist (1973), shot by Owen Roizman, ASC
Chinatown (1974), shot by John Alonzo, ASC
The Godfather: Part II (1974), shot by Gordon Willis, ASC
Barry Lyndon (1975), shot by John Alcott, BSC
One Flew Over the Cuckoo's Nest (1975), shot by Haskell Wexler, ASC
All the President's Men (1976), shot by Gordon Willis, ASC
Taxi Driver (1976), shot by Michael Chapman, ASC
Close Encounters of the Third Kind (1977), shot by Vilmos Zsigmond, ASC, HSC
The Duellists (1977), shot by Frank Tidy, BSC
The Deer Hunter (1978), shot by Vilmos Zsigmond, ASC, HSC
Alien (1979), shot by Derek Vanlint, CSC
All that Jazz (1979), shot by Giuseppe Rotunno, ASC, AIC
Being There (1979), shot by Caleb Deschanel, ASC
The Black Stallion (1979), shot by Caleb Deschanel, ASC
Manhattan (1979), shot by Gordon Willis, ASC
The Shining (1980), shot by John Alcott, BSC
Chariots of Fire (1981), shot by David Watkin, BSC
Das Boot (1981), shot by Jost Vacano, ASC
Reds (1981), shot by Vittorio Storaro, ASC, AIC
Fanny and Alexander (1982), shot by Sven Nykvist, ASC
The Right Stuff (1983), shot by Caleb Deschanel, ASC
Amadeus (1984), shot by Miroslav Ondricek, ASC, ACK
The Natural (1984), shot by Caleb Deschanel, ASC
Paris, Texas (1984), shot by Robby Müller, NSC, BVK
Brazil (1985), shot by Roger Pratt, BSC
The Mission (1986), shot by Chris Menges, ASC, BSC
Empire of the Sun (1987), shot by Allen Daviau, ASC
The Last Emperor (1987), shot by Vittorio Storaro, ASC, AIC
Wings of Desire (1987), shot by Henri Alekan
Mississippi Burning (1988), shot by Peter Biziou, BSC
JFK (1991), shot by Robert Richardson, ASC
Raise the Red Lantern (1991), shot by Lun Yang
Unforgiven (1992), shot by Jack Green, ASC
Baraka (1992), shot by Ron Fricke
Schindler's List (1993), shot by Janusz Kaminski
Searching For Bobby Fischer (1993), shot by Conrad Hall, ASC
Trois Coulieurs: Bleu (Three Colours: Blue; 1993), shot by Slawomir Idziak, PSC
The Shawshank Redemption (1994), shot by Roger Deakins, ASC, BSC
Seven (1995), shot by Darius Khondji, ASC, AFC
The English Patient (1996), shot by John Seale, ASC, BSC
L. A. Confidential (1997), shot by Dante Spinotti, ASC, AIC
Saving Private Ryan (1998), shot by Janusz Kaminski
The Thin Red Line (1998), shot by John Toll, ASC
American Beauty (1999), shot by Conrad Hall, ASC
The Matrix (1999), shot by Bill Pope, ASC
In the Mood for Love (2000), shot by Christopher Doyle, HKSC
10 Storytelling and Directing Tips Inspired by Akira Kurosawa
Learn from one of the greatest directors of all time.
In the pantheon of cinematic greats, Akira Kurosawa stands as a towering figure, a master storyteller whose influence transcends time and borders. His works, characterized by their epic narratives, exquisite visuals, and emotional depth, continue to inspire filmmakers and audiences alike.
Kurosawa's unique approach to directing and storytelling has become a subject of study and admiration. As we explore the wisdom distilled from his illustrious career, we find timeless lessons that go beyond the confines of genre and culture. These principles serve not only as a blueprint for aspiring directors but also as a testament to Kurosawa's enduring legacy in the art of filmmaking.
The Humanistic Cinema of Akira Kurosawawww.youtube.com
1. Trust Your Gut
'Rashomon'
Credit: Everett Collection
Kurosawa emphasized the importance of a director's intuition. This suggests that when faced with creative decisions, it’s often valuable to listen to your gut feeling. This could mean choosing an unconventional shot or narrative direction that feels right, even if it challenges traditional methods or the opinions of collaborators.
2. Study The Masters
Akira Kurosawa working with a cinema camera on the set of
Credit: BFI
By examining the works of great directors, one can learn various aspects of filmmaking, such as shot composition, pacing, and storytelling.
Kurosawa himself was influenced by filmmakers like John Ford and Jean Renoir and believed in the value of understanding their techniques to refine his own work.
3. Collaborate With Your Actors
Credit: BFI
Actors bring characters to life, and Kurosawa believed in giving them space for interpretation. This includes working closely with them, understanding their perspective, and allowing them to bring their own creativity to their roles, which can result in more authentic and compelling performances.
4. Planning is Paramount
Akira Kurosawa's manual splicing
Credit:
Detailed planning and storyboarding were key to Kurosawa’s approach. He would often sketch out every shot before filming.
This level of preparation ensures that every visual element serves the story and can help in executing complex scenes more efficiently.
5. It's all in the Details
Akira Kurosawa on the set of ‘Yojimbo’
Credit: Film Magazine
In Kurosawa’s view, the minutiae of a film—such as the costumes, set design, and props—were crucial in creating a believable world.
Attention to these details helps to immerse the audience and can subtly enhance the storytelling.
6. It's Okay to be Silent
'Throne of Blood'
Credit: Toho
Silence can be as powerful as dialogue or music. Kurosawa harnessed silence to build suspense and convey emotion, using it to draw the audience in and focus their attention on the visual storytelling.
7. Learn From Mistakes
'High and Low'
Credit: Toho
Kurosawa was not afraid to recognize his own mistakes and saw them as learning opportunities. This principle encourages a mindset of continuous improvement and resilience in the creative process.
8. Keep a Handle on Emerging Technology
'The Hidden Fortress'
Credit: Toho
Always curious about the latest developments, Kurosawa integrated new technologies into his filmmaking. This openness to innovation can lead to new ways of storytelling and can give a unique aesthetic to films.
9. Maintain Your Vision
'Dreams'
Credit: Warner Bros.
A director must have a clear vision for the film and remain true to it throughout the process. This can sometimes mean resisting studio pressure or popular trends to create a work that is authentic and personal.
10. Let Passion Guide You
'Seven Samurai'
Credit: Toho
Kurosawa’s passion for filmmaking was evident in his dedication to his craft. This principle suggests that great art comes from a place of deep commitment and enthusiasm, and that passion is infectious, often inspiring the entire cast and crew to strive for excellence.
In honoring Kuroswas's legacy, we continue the quest for storytelling that resonates, transforms, and endures. For filmmakers and storytellers looking to craft their own masterpieces, let Kurosawa's spirit guide your cinematic adventures.
May your films be as bold, as beautiful, and as profoundly human as the ones he left us.
Now go make something.