Word: nestor
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Dates: during 1980-1989
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With the triumph of the international style -- episodic and oblique, offering no easy meanings or solutions -- came the latest surge of immigrant directors and cinematographers. Some, like Forman, Soviet Filmmaker Slava Tsukerman (Liquid Sky) and the Cuban-bred camera magician Nestor Almendros, were sidestepping new tyrannies. Some, like Louis Malle (Pretty Baby, Atlantic City, Alamo Bay), sought a larger canvas on which to test their palettes. Many others were Australians and Englishmen attracted by the grand contradictions of a country with which they shared a language and part of a heritage. America was, of course, where the action was. Also...
...been joined by a kinky perfume campaign. The print spot, shot by Photographer Bruce Weber, shows three apparently naked men coiled around a similarly unclad woman, all bathed in an inky blue tint. Four 30-second TV spots debuted last week. Filmed by Photographer Richard Avedon and Cinematographer Nestor Almendros (Days of Heaven, Kramer vs. Kramer), they show four people--a young man, an older man, a boy and a woman--all "obsessed" with the same woman. Has Klein finally gone too far? "I don't think they're offensive," says the fashion master. "It's a very strong photograph...
...David Angel) pulls a curtain to reveal three coffins, and welcomes a mob of cheering cast members to "Choose that Casket." Nerissa holds up an "Applause" sign. Here, the cast "deviates" from Shakespeare's script. After the emcee announces that the first contestant is the Prince of Morocco (Nestor Figueroa), he asks." Tell me about yourself--where are you from?" "Morocco" answers the Prince, while the other suitors howl "Go for the gold" in the background...
...cinematography by Nestor Almendros is nothing short of spectacular, from the shining fields of grass to the dry, patched clapboard houses. And the scene of Moses and Edna planting cotton seed is as powerful as a Millet painting...
...fact, from details like this, hundreds of them, passing before the subtly shaded and disciplined lens of Cinematographer Nestor Almendros' camera, an eye that never wanders toward pure realism or toward sentimentality either, that Places in the Heart derives much of its strength. The dust rising from the wheels of a hurrying flivver, the chilly darkness of a cavernous bank, the way the early morning sun strikes a field of cotton, and the camera's simple crane up to reveal the immensity of the field and of the task before the little band of pickers toiling...