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Luque buy snow

When he was 18, Pedro Luque found himself on a movie set for the first time. He had been studying art in his native Uruguay when one of his teachers was hired to be the production designer on an independent movie, and he enlisted Luque as a props assistant. Luque, who had been given a camera by his father at a young age and developed an interest in photography, enrolled at Escuela de cine del Uruguay. His latest is Society of the Snow , a survival thriller from Spanish auteur J. Bayona that Luque calls 'the project I've always dreamt of. He is a man whose love for cinema is so profound and who is not afraid to explore the art — taking it seriously with all his soul. It made me re-learn all I knew, with joy, with compromise, with love,' says the DP. I got to live the story and use my ability as a cinematographer to translate it into a cinematic experience. Below, Luque shares with A. I'm always exploring and trying to push the medium so it can speak to me in its own language. It was a 35mm copy — a bit worn but still gleaming in color and contrast — and I couldn't believe how such a dark story could be so beautiful. It transmitted something that could only be explained by the power of cinema — a series of contradictions and feelings so powerful it was hypnotic. I understood that even the most disturbing dramas could be also beautiful. It was shown as part of the Uruguayan film festival, and we got to see it on a really big screen downtown. A still relatively unknown Aronofsky was roaming the streets of Montevideo. It taught us that you can make cinema with almost nothing. Eventually we ended up shooting our movie The Silent House with a meager budget, but it started our careers. This one hit me really hard. I remember being struck by the realism and strength of its images, the almost documentary-like look of the film. It made the whole story more believable and raw. Somehow, the power of the story was elevated by this language chosen by Larry Clark. My mom is a big movie fan, and I remember being a child and dozing off to the spaceship reaching Jupiter. Later, I was lucky to catch a glorious 70mm copy at the Egyptian, and by then, I knew everything about the movie. It's my favorite in terms of how the visuals were created; a lot of engineering put to the service of the story, a lot of ingenuity and hard work. I became a die-hard Kubrick fan. Aren't we all? I think I was a little too young for it, but the endless fantasy and the risks taken by Terry Gilliam blew my mind. It gave us a peek into a completely made-up world, full of wild characters. It was a great escape from reality, and so much fun. Cinematographer Pedro Luque's Top 5. Directed by: Darren Aronofsky Cinematography by: Matthew Libatique It was shown as part of the Uruguayan film festival, and we got to see it on a really big screen downtown. Related Lists. Subscribe to our newsletter. First Name. Last Name. About The Academy Academy Museum. Privacy Policy. Terms of Use. Contact Us.

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Luque buy snow

By Carolyn Giardina. Tech Editor. In director J. The Netflix production, he adds, was treated in effect as a documentary; he began with extensive interviews with survivors and the families of victims. Filming took place at the actual crash site in the Andes, in a remote area of Spain, as well as on a soundstage that involved a foot by foot mountain set. And in that sense, it became very, very symbolic. In the THR Presents interview, the pair discuss filming at the remote locations in freezing temperatures, the most challenging scenes to shoot and delicate work from departments including visual effects, sound and hair and makeup. The director related that to prepare, the actors met with survivors and he held extensive rehearsals. Luque emphasized that filming was ultimately about following the actors and the emotion. Sign up for THR news straight to your inbox every day. December 11, pm. Related Stories. Read More About: Camerimage J. All Rights Reserved. Close the menu The Hollywood Reporter homepage.

Luque buy snow