Imagine, if you will, an Argento film with Chris Doyle as cinematographer. A marriage made in heaven, or in hell?
But, much like Vittorio Storaro, I tend to wonder about Doyle and whether he becomes the auteur of the films on which he collaborates: Luigi Bazzoni's The Fifth Cord and Footprints have that too beautiful, too composed aspect, whereas The Bird with the Crystal Plumage still has that imperfection.
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