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21 de may. de 2018 · Ernest Dickerson is one such example. Long regarded as former NYU-classmate Spike Lee ’ s exclusive cinematographer, Dickerson struck out on his own in 1991 and assumed the director ’ s chair for the controversial film, Juice. To date, Dickerson has four films under his belt as director with no signs of stopping.
Ernest R. Dickerson es un Director, Director de fotografía americano. Descubre su biografia, el detalle de sus 38 años de carrera y toda su actualidad.
Ernest Dickerson is an American film and television director and cinematographer. Dickerson was born in New Jersey. He began his career as a cinematographer on music videos. His first feature film as Director of Photography was also Spike Lee's first film, Joe's Bed-Stuy Barbershop: We Cut Heads. In 1992, he made his directing debut with Juice, before starting to work as a TV series director ...
23 de ago. de 2022 · Visual History with Ernest Dickerson Interviewed by: Seith Mann Director Ernest Dickerson discusses his 30-year career as a director and shares insight into his creative process through recalling his feature films (Juice, Tales from the Crypt: Demon Knight), movies for television (Strange Justice, Our America), and his various episodic television credits (The Wire, Raised By Wolves, and Dexter).
17 de ene. de 2022 · In honor of Juice’s 30th anniversary, I got a chance to sit down with director Ernest R. Dickerson to discuss why the film stands the test of time. One fascinating revelation was that Hollywood initially wanted to turn Juice into a comedy!. Mr. Dickerson revealed that when he and co-writer Gerard Brown shopped the script around town in the early 1980s, one studio suggested making Juice a ...
10 de feb. de 2013 · Feb 10, 2013. When it comes to filmmaker Ernest Dickerson — who in his directorial debut brought us the iconic urban drama Juice, having more recently found a home on the sets of award winning ...
23 de dic. de 2021 · Ernest Dickerson: Well, the great thing about it, we actually hoped to shoot Malcolm X in 70 mm. And we were lucky to get 35mm. Cause you know, remember, when we were sitting in the theater looking at Lawrence and thought we wanted people to really see the real Malcolm, because of disinformation a lot of people didn’t really know who he was, or his life’s journey.
