Robert Elswit

He plays the lead guy, and he's, like, a, you know, bullied, sort of nerdy metalhead who ends up stumbling upon this and raising the spirit of this satanic rock singer who then goes on to cause, like, tons of problems.

But, like, Robert Elswit is the DP on it, and it looks, like, incredible.

Like, it looks so good.

And it's got some, like, actual awesome moments in it, but then it also just has, like, very, like, sort of wearing his cheesiness on its sleeve moments as well.

Hugh Grant, Quaid, Andy Moore, Marsha Gay Harden, Jennifer Coolidge, Willem Dafoe.

Shot by Robert Elswit? Yeah,

Chris Klein is like the ultimate... you know he's like uh there's i guess oh it's a

paul white's film so it's a

It's like, well, you know, the movie has all these problems, but it's lensed beautifully by Harris Samitis.

Um, and whereas like you kind of go down, if you go down like, well, everybody like people know who Roger Deakins is now, but before like Roger Deakins was a name or before somebody like Robert Elswit was a name.

Yeah.

Like you go down, you find out it's like, wait, they shot that movie? He shot that movie? He shot that movie? In time is one for

Pretty fun, yeah.

What is great is Robert Elswit is the fucking DP for this movie.

And this was one of the first things that he did.

This is Oscar winner Robert Elswit.

So we're going back to the thing we talked about with the fucking Pet Sematary sequels where Russell Carpenter, who won an Oscar for Titanic, shot Pet Sematary 2.

Here we are, Robert Elswit.

He shoots The Sure Thing before this, which is the Rob Reiner kind of rom-com with...

Cusack, and what is her fucking name from Spaceballs? Oh, it's Daphne something, right? Daphne Zuniga.

Gorgeous cinematography in that film.

Right, but this Netflix series, written and directed by Stephen Zalian and shot by Robert Elswit, strips all of that away.

Entirely.

Andrew Scott plays Ripley as this worn-out, exhausted grifter.

And, uh, yeah, so a little bit disappointed by it, by, uh, Animals.

But there are some good performances, you know, and it's shot by, uh, I think Robert Elswit.

So I mean, it looks, it looks decent, but it's not, like, his best work or anything like that.

Um, so yeah, this is one that honestly I was kind of looking forward to, and I feel like people could probably skip it.

Just lot, lot of, uh, professional grade, uh, synchronized dancing, you know, just because.

This movie is, speaking of all of the surprisingly stacked cast and crew, this movie is shot by Robert Elswit, who would go on to be the cinematographer for a lot of Paul Thomas Anderson films-

Yeah

... and win an Oscar for There Will Be Blood.

Yeah.

But yeah, that was, um, s- it's, it's beautifully, unbelievably shot by Bob Elswit.

Oh, yeah.

You know, and, you know.

It does.

He used Robert Elswit's cinematography, which makes the wooden oil derricks look like towering industrial crucifixes.

He stole the historical pressure of the book, but he built an entirely original visceral nightmare out of it.

It's the ultimate example of a director trusting the camera over the prose, which perfectly tees up our second example of treating the book like a quarry, Alfonso Cuarón's 2006 film Children of Men, loosely adapted from the 1992 novel by P.D. James.