Scorberg
"Unforgiven"
From Clint Eastwood's Unforgiven. This is such a great film; for a man who defined the western genre, this film is not conventional to that.
Anyway, this is from the ending scene. Two things about this shot and the film lighting overall. First, this shot is such a great dolly shot into the gun. This film is very fluid with it's camera movement, which is something that Eastwood had to have gotten from Sergio Leone; there are lots of dolly shots in this film as well. There is a shot at the beginning of this sequence when Eastwood's gun comes into view--that is so reminiscent of Leone's shots, when an object would come into frame.
Second, the lighting in this scene is a perfect example of the lighting overall for this film. The DOP was Jack N. Green, who worked with Eastwood on all of his films up until Space Cowboys. The most beautiful thing about the lighting in this film is that it's so low key, with a lot of practicals, which is what it would've been like back then. There are times when Green will wash a scene with light during external sequences, but it's for aesthetics, and you can see what I'm talking about at the end of this sequence here when Eastwood leaves the saloon; there are many shadows created by lights that barely wrap around corners and it just gives a very foreboding look.
Here's a link to the end if your interested.
"Unforgiven"
From Clint Eastwood's Unforgiven. This is such a great film; for a man who defined the western genre, this film is not conventional to that.
Anyway, this is from the ending scene. Two things about this shot and the film lighting overall. First, this shot is such a great dolly shot into the gun. This film is very fluid with it's camera movement, which is something that Eastwood had to have gotten from Sergio Leone; there are lots of dolly shots in this film as well. There is a shot at the beginning of this sequence when Eastwood's gun comes into view--that is so reminiscent of Leone's shots, when an object would come into frame.
Second, the lighting in this scene is a perfect example of the lighting overall for this film. The DOP was Jack N. Green, who worked with Eastwood on all of his films up until Space Cowboys. The most beautiful thing about the lighting in this film is that it's so low key, with a lot of practicals, which is what it would've been like back then. There are times when Green will wash a scene with light during external sequences, but it's for aesthetics, and you can see what I'm talking about at the end of this sequence here when Eastwood leaves the saloon; there are many shadows created by lights that barely wrap around corners and it just gives a very foreboding look.
Here's a link to the end if your interested.