Search Results: Cinematographers from Royal Books, Inc.

London: Goldcrest Films, 1989. Final Draft script for the 1989 neo-noir film. Copy belonging to cinematographer Gerry Fisher, with 13 pages of production materials laid in, including revision pages, manuscript leaves, and production memos, dated variously between October 26 and November 19, 1988. Several of the laid-in pages bear Fisher's name on the top margins in manuscript pencil and ink. A medium finds herself the target of a corporate hitman after she foretells the death of a factory whistleblower. Although well received by critics, the film's distributors fell into financial difficulties, resulting in it never receiving a full cinema release. Shot in Rock Hill, South Carolina, and Charlotte, North Carolina. Blue titled wrappers, undated, noted as FINAL DRAFT (3), with credit for screenwriter and director Mike Hodges. Title page present, undated, noted as FINAL DRAFT (3), with credit for screenwriter and director Mike Hodges. 107 leaves, with last page of text numbered 106. Xerographic… Read More

Los Angeles: Embassy Pictures, 1966. Draft script for the 1966 film. Front wrapper notes both the release title ("An Eye for an Eye") and the working title ("Talion"). With two vintage double weight production photographs, showing the cast and crew on location in the Alabama Hills (Lone Pine, California), including director Jack Cardiff and cinematographer Lucien Ballard, laid in. Pale blue titled wrappers. Title page present, with credits for screenwriters Russell and Williams and story writer Russell. 99 leaves, mechanical duplication. Pages Very Good plus, wrapper Very Good bound with two gold brads.

Portland, OR: Northern Film Company, 1986. Vintage black-and-white still photograph from the 1986 film. Label affixed to the verso reading: "MALA NOCHE / Gus Van Sant." Pictured are a young Van Sant and his cinematographer John J. Campbell, shooting a street scene in Portland, Oregon, where the film was made on location, shot in 16mm and mostly in black and white. The director's first feature film, and Campbell's as well. Campbell would go on to shoot My Own Private Idaho (1991) and Even Cowgirls Get the Blues (1993) for Van Sant. The director's first film, based on the 1977 autobiographical novel by the Oregon poet Walt Curtis. 8 x 10 inches. Near Fine. Criterion Collection 407.

Burbank, CA: Walt Disney Productions / RKO Radio Pictures, 1948. Vintage photograph of photographer and cinematographer Stuart Jewell adjusting a camera while capturing a time-lapse shot for Beaver Valley (1950). Printed mimeo snipe on the verso, with manuscript pencil annotations noting the year and title of the film. From the archive of film historian and author Joel Finler. The second short film in Walt Disney's True Life Adventure series of nature documentaries, featuring a mix of feaure length and short films. The series would win a total of eight Academy Awards, including Best Live Action Short Film for Beaver Valley. 10 x 8 inches. Near Fine.

N.p.: N.p., 1934. Vintage autograph letter signed from cinematographer and director Edwin B. DuPar (signed E.B. DuPar) to production manager and casting director Robert B. McIntyre, on Vitaphone Corporation (a subsidiary of Warner Bros. Pictures) letterhead, dated October 1, 1934. Written on the recto and the verso. The letter is in regards to night shots of New York City taken by DuPar and shipped to McIntyre, at the request of a "Mr. Bovee" (who we have been unable to identify). DuPar notes that he has shipped "3000 ft. of exposed neg - of N.Y. night shots," and goes on to note that the shots lack lit-up windows due to the time of year taken, and suggests night shots be taken in November, "when it gets dark at 4:30 pm, then everyone is still working and the offices are lit up bright," as opposed to the supplied shots taken in October when "it gets dark at 7 pm and eveyone is out of the office ...." He also notes a long shot requested from the top of the RCA building, and that he has taken "5 or 6… Read More

N.p.: N.p., 1920. Black and white photograph (struck circa 1960) of noted screenwriter and producer June Mathis with her husband, cinematographer Silvano Balboni, in 1922. With the stamp of National Film Archive in London on the verso. From the archive of film historian and author Joel Finler. Mathis was one of the top-paid executives in Hollywood at the age of 35, after becoming the first female executive for Metro in 1919. She is best remembered today for discovering Rudolph Valentino and writing several of significant roles for him, including "The Four Horsemen of the Apocalypse" (1921) and "Blood and Sand" (1922). Mathis worked with Balboni on two First National films: "The Far Cry" (1926, directed by Balboni) and "The Masked Woman" (1927, directed by Balboni and written by Mathis). 9.75 x 8 inches. Near Fine.