Skip to main content

Brandon Lee Cox directs his photography at The Basement

One of the most important aspects of any film is cinematography. Let's face it, film is a visual medium, and the cinematographer -- or director of photography (DOP) -- is the one who makes the pictures work.

Brandon Lee Cox (above, on the right) cut his teeth as DOP on everything from music videos to feature films, his most recent being Line of Duty for director Steven C. Miller. Yup, we're still pimping that movie... because it deserves it!

I just got off the horn with Brandon, and we had a great chat about his career, what it takes to make a movie look so good, and how integral the relationship between a DOP and director is. And we talk about his influences, inspirations and how he got into this line of work. It's a great chat about an import part of the filmmaking process.

When do you get to hear it? We will unleash or conversation with Brandon on Friday, Jan. 24, at 6:05 P.M., only on Radio NL 610 AM Kamloops.

Comments

Popular posts from this blog

Review: Force of Nature

Disappointing is the word that pops to mind when I reflect back on the new Mel Gibson movie Force of Nature. Then again, I didn't really expect much going in.

Gibson has long been removed from the Hollywood A-list, a shame given how good an actor he is. And he is good in this movie, which is essentially Die Hard in An Apartment During a Hurricane. In Puerto Rico, I might add.

Thing is, Gibson probably shot his scenes in a couple of days, and he's basically hit the Cranky Old Man part of his career, which is a shame. But he appears to have fun in the flick, which pits art thieves against Emile Hirsch and Stephanie Cayo's cops. Gibson is a former cop and Kate Bosworth his daughter, a nurse who happens to be on site when the hurricane hits and the art thieves show up.

The problem is 95 percent of the movie is totally forgettable. We've seen this before, done better, in many different movies. One-location action movies are fine, but director Michael Polish doesn't inj…

Review: Parallax

About 15 minutes into the new sci-fi/thriller Parallax I asked myself "what the eff am I watching?"

The problem is, I was asking myself the same question as the end credits started to roll.

I have no problem with a movie requiring me to think. But I take issue with one that doesn't give me any payoff. And Parallax is certainly an epic failure on that level.

The movie is about a young artist who wakes up one day to a life she doesn't recognize, spending her time asleep, haunted by nightmares of drowning in a black void. As she begins to figure out what is going on, her sanity is threatened.

That's the best way I can describe the plot, although I had to do some research to figure it out. Writer/director Michael Bachochin has definitely crafted a thinking person's film but, unlike last week's review Volition, this one isn't all that entertaining. It's a slow mystery that takes too long to get where it's going, and then doesn't deliver any go…

Retro Review: The Outlaw Josey Wales (1976)

The Outlaw Josey Wales was one of my dad's favourite movies. So I saw it a lot growing up. Every time it was on TV, he and I ended up watching it. By default, and gladly so, it's become one of my favourite movies as well.

Josey Wales takes Clint Eastwood's The Man with No Name and deposits him in a post-Civil War epic about revenge and redemption. In many ways, it covers similar themes as Eastwood's Unforgiven. This movie is more thoughtful and intelligent than I remember it being. Then again, as a kid, I was mostly interested in the gunfights.

There are gunfights aplenty in The Outlaw Josey Wales, but there's a greater depth to the film, and the character, as well. This movie is as much about a group of individuals coming together to merge their destinies as they survive in the Old West. The ironic thing is Josey Wales, a violent loner, becomes their leader and father figure. It's an interesting dynamic, and plays very well, even some 44 years after the movie…