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WASHINGTON, D.C. – The International Alliance of Theatrical Stage Employees (IATSE) released today its updated federal legislative priorities for the second session of the 117th United States Congress.

Although cinematographer Haskell Wexler was a notoriously difficult man to work with, fired twice in the space of two years at the peak of his profession, you’d never know it from the astonishing list of directors he shot films for over the course of his 60 years behind the camera: Mike Nichols, John Cassavetes, Hal Ashby, John Sayles, Elia Kazan, Norman Jewison, Tony Richardson… the list goes on.

Roger Deakins, the multiple Academy Award-winning cinematographer who has filmed countless Hollywood classics throughout several decades, has now been knighted by Prince Charles for services to film.

Canadian film and TV unions, guilds and lobbyists have been left divided as the federal government unveils Bill C-11, a legislative update to regulations covering foreign media players in the local film and TV production sectors.

Ellen Kuras will become the first woman recipient of the American Society of Cinematographers’ Lifetime Achievement Award, which she will accept at the ASC’s 36th annual awards, March 20 at the ASC Clubhouse in Hollywood.

When cinematographer Janusz Kaminski was approached for West Side Story, he was “extremely excited and enthusiastic,” given the fact that his longtime collaborator Steven Spielberg had always wanted to make a musical, and was finally going to be able to bring his “dream project” to fruition.

IndieWire reached out to the cinematographers behind the scripted narrative features premiering at the 2022 Sundance Film Festival to find out which cameras, lenses, and formats they used, and why they chose them to create the looks and meet the production demands of their films. Here are their responses.

The entertainment industry’s top guilds and studios have again extended their COVID-19 return-to-work agreement, the Directors Guild recently told members amid a nationwide omicron surge.

Television, obviously, is a medium of pictures. Yet for many, many years, owing to technical, practical and economic reasons, the pictures were not much to look at: flatly lighted, stolidly framed, fashioned to convey dialogue, broad action and necessary information but rarely to communicate mood or tell their own sort of story.

In the mid-1990s, soon after making his Spanish-language debut “Cronos,” director Guillermo del Toro tried his monster-friendly hand at an American studio film for the first time. But working with Miramax on “Mimic,” a sci-fi horror movie about a plague of cockroaches in Manhattan, left behind a bitter first taste of Hollywood for the burgeoning Mexican auteur.