It’s No Citizen Kane: Legendary Cinematographer Gregg Toland Directs December 7th
It’s No Citizen Kane: Legendary Cinematographer Gregg Toland Directs December 7th
Dec 4, 2014
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Gregg Toland on working with Orson Welles in Citizen Kane (1941): "Photographing Citizen Kane was indeed the most exciting professional adventure of my career. Welles is unique in his zeal to get exactly what he wants. We spent four days perfecting one very difficult shot. It was a complex mixture of art and mechanics. A table and chairs on rollers were to behave with clock-like precision as a three-ton camera boom moved over them…” The full text is available for our subscribers | History of Cin
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Gregg Toland on working with Orson Welles in Citizen Kane (1941): "Photographing Citizen Kane was indeed the most exciting professional adventure of my career. Welles is unique in his zeal to get exactly what he wants. We spent four days perfecting one very difficult shot. It was a complex mixture of art and mechanics. A table and chairs on rollers were to behave with clock-like precision as a three-ton camera boom moved over them…” The full text is available for our subscribers | History of Cin
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"He was the greatest cameraman who ever lived and the fastest," Orson Welles on Gregg Toland. CITIZEN KANE wouldn't be the masterpiece it is without Toland's cinematography. See this timeless classic on the big screen on 9/19 and 9/22. #TCMBigScreen Tickets and showtimes here: https://myt.cm/CitizenKane80 | Turner Classic Movies: TCM
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"He was the greatest cameraman who ever lived and the fastest," Orson Welles on Gregg Toland. CITIZEN KANE wouldn't be the masterpiece it is without Toland's cinematography. See this timeless classic on the big screen on 9/19 and 9/22. #TCMBigScreen Tickets and showtimes here: https://myt.cm/CitizenKane80 | Turner Classic Movies: TCM
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Gregg Toland pioneered deep focus cinematography in Citizen Kane in 1941, keeping everything from
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How Orson Welles and Gregg Toland Crafted Citizen Kane: On the first day of shooting, June 29, 1940, the projection-room sequence was shot at daringly low light levels using only the streams from the projection windows and a few small fill lights. The performers were barely visible, their dialogue and background voices overlapping constantly—a pure Mercury Theatre aesthetic. The following nightclub sequence opened with an elaborate descending crane shot, the first appearance of the exaggerated m
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Occupy Cinematographers on Instagram: "Citizen Kane (1941) Dir: Orson Welles | DP: Gregg Toland Before Toland, you had to choose: focus on foreground OR background. Never both. Citizen Kane invented deep focus. The signing scene: young Charles Kane in the background, outside a window. His guardians sign documents in the foreground. Both planes are sharp. You watch his childhood being signed away while reading the papers. But there's more: Toland showed ceilings. Hollywood sets didn't have them -
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"Gregg Toland - if he had done nothing but shoot CITIZEN KANE ('41) he would be in the history books." Leonard Maltin Join us tomorrow at 8pm ET for the world premiere of the TCM Original documentary "Image Makers: The Adventures of America’s Pioneer Cinematographers" #ASC100 | Turner Classic Movies: TCM
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When THE BEST YEARS OF OUR LIVES ('46) was released, cinematographer Gregg Toland visited L.A. theaters to make sure they had the best possible projection equipment. For some, he ordered new lenses for the projectors and reduced the size of the screens to guarantee the film would be seen under optimal conditions. | Turner Classic Movies: TCM
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