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  1. 1 de may. de 2024 · Dans l’envers des décors du cinéma avec Dean Tavoularis L’iconique chef décorateur américain donnera une master class ce jeudi à la Cinematek. L’occasion de plonger dans les secrets de films mythiques tels que « Le Parrain » et « Apocalypse Now ».

  2. 6 de may. de 2024 · El encargado del diseño de producción fue Dean Tavoularis, quien logró sacar partido a cada dólar. En pantalla todo luce en su máximo esplendor. Por aquel momento, para el film, ya habían sido seleccionados varios actores.

  3. 16 de may. de 2024 · It's hard not to watch the digitized special effects (there is also "special cinematography" credited to Ron Fricke of "Baraka") without wondering what the film might have looked like had it been made decades earlier, on celluloid, with Coppola collaborating with Vittorio Storaro and Dean Tavoularis, and in full command of the ...

  4. Hace 8 horas · on May 27, 2024. Published in Daily Trivia. Subscribe. Film set designer Dean Tavoularis took great pride in the many small details that create the illusion of reality in a movie. In an interview, he shared his conviction that if a film character lived in a real house (not a studio set), then real mail should be delivered to that house ...

  5. 12 de may. de 2024 · “ For [production designer] Dean Tavoularis, oranges were simply another carefully chosen complement to otherwise somberly dressed sets ,” Leo writes in The Godfather Legacy (via Time ). Tavoularis explained, “ We knew this film wasn’t going to be about bright colors, and oranges make a nice contrast.

  6. Hace 3 días · It’s all set to tunes by Tom Waits — the musician earned an Oscar nomination for Best Original Song Score, but if the movie was meant to receive only one nod, it should have been for Dean Tavoularis’ astonishing sets, all built from scratch at Coppola’s Zoetrope Studios.

  7. 12 de may. de 2024 · Tavoularis explicou: “ Sabíamos que este filme não seria sobre cores brilhantes e as laranjas fazem um belo contraste. Não me lembro de ninguém dizendo: ‘Ei, gosto de laranjas como uma mensagem simbólica .’”. Um dos símbolos visuais mais icônicos da história do cinema aconteceu por coincidência.