Now is everything Trailer from VALENTINA DE AMICIS R. SPINOTTI on Vimeo.


NOW IS EVERYTHING is the first feature of Riccardo Spinotti (son of the beloved Cinematographer Dante Spinotti ASC AIC) and Valentina de Amicis ,the movie will be officially presented on 28 November at 37° TORINO FILM FESTIVAL and is also premiered at 23° Pimedate Ööde filmifestivalStarring Sir Antony Hopkins,Ray Nicholson(son of Jack Nicholson) The A LIST Crew show Dante Spinotti ASC AIC as Cinematographer & at Costume dept. Colleen Atwood (Public Enemies and Manhunter).”Riccardo Spinotti (1986) was raised in both Italy and in Santa Monica, CA, USA. He attended NYU for Art and Sciences before joining the prestigious AFI (American Film Institute) in Los Angeles, where he graduated as a director in 2012. He has directed several short films including his thesis that was selected and screened at the Directors Guild of America (DGA) AFI event in 2012. With a passion for photography, he has worked both in the camera department and in production on several feature films. Valentina De Amicis was born in Italy in 1979. She graduated in 2004 from University of Rome La Sapienza in Film Studies. Since 2006 she has worked as Assistant Director between Los Angeles, New York, and Rome on numerous films, commercials, and television including Woody Allen’s film “To Rome With Love”. In her directorial debut, this serves as the first time director pairing for Spinotti and De Amicis.

The interesting soundtrack is composed by the talented Vidjay Beerepoot,I have got my ticket for the Torino Film Festival 30th Nov.2019 show and I have High Hopes.



ASC Logo smallSIDE

From ASC CLOSE UP american-cinematographer-logo Vol 97(2016)

What’s The Best Professional Advice you’ve received?


Don’t get attached to anything _ Be Prepared to turn on a dime at any time.


It must be a lighting tip : ‘ When in doubt , turn it off ‘


No matter how technologies  change, a cinematographer’s most valuable tool is his eye.


Roger Corman would always tell his first-time directors before the first day of shooting, ‘Whenever you get a chance,sit down!’ Still good advice


Never Give Up!


Remain a student.Respect your crew. Collaborate


Never feel comfortable, always challenge yourself and never stop dreaming.


My agent ,Charles Lenhoff, gives me pep talks before job interviews. Early on he said ‘Tell them you want the gig.’ I thought he was nuts! I assumed, ‘ if I’m interviewing, obviously I want the job.’ I’m still amazed then when I say it, it works. In a couple instances,after the interview, the producers thanked me for telling them, because apparently they often can’t tell if their cinematographer candidates are actually interested.


Tomislav Pinter once told me, ‘A great cinematographer doesn’t have a style’


Oddly enough, it was a print AD that McDonalds’s ran back in the Sixties, promoting being ‘persistent and patient.’ This Mantra has served me very well over my career.


When I was starting out there were only a small percentage of women in the camera dept., and I am constantly reassured that while it may still appear to be male-dominated, there’s no reason why it should be.


Wake up before everybody else ; go to sleep after everybody else; work more than you think you should.

The Man of Guarantee Duane C. Manwiller


It happened, after seeing some films as just happened watching Last Action Hero on Blu Ray last nite, that you have the feeling that there was a common denominator in the aesthetic sense of the images and of the camera’s movements or better a overall quality in modus operandi. Now This phenomenon for me has a name, Duane C. Manwiller and his last name is quality and professionalism ; He hit my eyes since 1990,fluent collaborator with some of greatest Cinematographers like Dante Spinotti A.S.C A.I.C,Maxime Alexandre A.I.C , Paul Cameron A.S.C  and Directors as Michael Mann ; Curtis Hanson ; Steven Soderbergh ; Kathrin Bigelow and Brett Ratner  , Duane often is credited as Camera Operator, 1st and 2nd Assistant Camera , Steadicam Operator, 2nd unit and additional Director Of Photography , Cinematographer and Producer;

2013 Nominated
Camera Operator of the Year Award
Feature Film
The Hunger Games (2012)

Below a list of remarkable films that unconsciously  I Own on Blu Ray , DVD and VHS ,so all of these have make me reach the conclusion that he’s one the secrets of the aspect of the filmic success.KUDOS!!

  2015 Blackhat (director of photography: second unit – as Duane Charles Manwiller)
 2014 John Wick (director of photography: second unit)
 2012 Battleship (additional photography: Hawaii Unit)
 2011 Luck (TV Series) (director of photography – 1 episode)
Episode #1.1 (2011) … (director of photography: second unit)
 2011 Texas Killing Fields (additional photography – as DC Manwiller)
 2010 The Crazies (camera operator) / (director of photography: second unit)
 2008/I Deception (Steadicam operator – as Duane ‘DC’ Manwiller) / (camera operator: “a” camera – as Duane ‘DC’ Manwiller) / (director of photography: second unit – uncredited)
 2006 Deja Vu (Steadicam operator) / (camera operator: “b” camera)
 2006 Miami Vice (Steadicam operator) / (director of photography: second unit)
 2002 Solaris (camera operator: “a” camera) / (director of photography: second unit)
 2002 Pinocchio (Steadicam operator) / (camera operator: “a” camera) / (director of photography: second unit)
 2002 Red Dragon (camera operator: “b” camera) / (director of photography: second unit – uncredited)
 2001 Ocean’s Eleven (Steadicam operator – as Duane ‘DL’ Manwiller) / (camera operator – as Duane ‘DL’ Manwiller) / (director of photography: second unit – uncredited)
 2001 Bandits (additional Steadicam operator – uncredited) / (first assistant camera: “a” camera)
 2000 The Family Man (first assistant camera: “a” camera)
 2000 Wonder Boys (additional Steadicam operator) / (additional camera operator)
 1999 The Insider (first assistant camera: “a” camera)
 1998 Out of Sight (first assistant camera: “a” camera)
 1998 Goodbye Lover (first assistant camera: “a” camera)
 1997 L.A. Confidential (first assistant camera: “a” camera – as Duane ‘DC’ Manwiller)
 1996 The Mirror Has Two Faces (first assistant camera: “a” camera)
 1995 Heat (first assistant camera: “a” camera – as Duane ‘DC’ Manwiller)
 1995 Strange Days (additional camera operator: second unit)
 1995 The Quick and the Dead (assistant camera)
 1994 Nell (first assistant camera – as Duane C. Manwiller)
 1993 Last Action Hero (second assistant camera)
 1992 The Last of the Mohicans (additional assistant camera)
 1992 Patriot Games (second assistant camera)
Duane C. Manwiller on Right From Hunger Games Set

Your 10 best movie of ever


Here a page from FACEBOOK where where you can leave a sign writing your 10 fav movie of ever you would save from the fire,thanks for visit and enjoy


– NM(nanometers)   Earth is under some Titans attack some guys one night discover how a laser pointer could save his city and the Earth

Unusual Encounters  Alien ship and its crew due some failure is landing in to a woods. This alien crew will facing with a evil entity living in to a abandoned cabin.

The Neighbors

The Intesexion

to be continued


Soundtrack:Halloween III 25th Anniversary Edition

Here in Italy it’s still a fixture on late-night TV and on the shelves of what were VHS stores and are now DVD outlets, even though 25 years have gone by since the Dino De Laurentis Corporation – with a budget of $2.5 million in 1982 – produced this cinematographic gem, inserting it chronologically following John Carpenter’s Halloween (1978). It is probably this connection that enabled the film, directed by Tommy Lee Wallace, former set designer for Halloween, to gross nearly 15 million dollars.

The film was technically a box office success, but the critics, contrary to my personal opinion, remained harsh and negative, most of all those who expected to see more of John Carpenter’s direction and Michael Myers, with kitchen knife in hand, carving up characters before they had time to scream. At first, this expectation distracts one’s attention from the terrifying yet fascinating story in which advanced technology is applied to Gaelic rituals drawn out of diabolical shadows.

Although somewhat dated and not entirely free of defects, the principal points of interest in this film lie in its superior cinematography – in Panavision Anamorphic format 2.35:1 processed by Technicolor, by accomplished Director of Photography Dean R. Cundey, ASC, who also take care of the previous two installments of the series – capable of immerging one in not only visual but tangible sensations, like the insalubrious humidity that the characters breathe in that Halloween night, a feeling supported by the convincing performance of the actors, above all a splendid Dan O’Herlihy in the role of Druid Conal Cochran; the able direction of Tommy Lee Wallace (Fright Night II), capable of stirring up and enlivening the scenographic landscape of Nigle Kneale’s script; and above all the evocative, even mesmorizing soundtrack, composed by John Carpenter in association with Alan Howarth, once again using the best technology available at the time, setting themselves apart as pioneers with new methods and ideas that work.
On the occasion of the 25th anniversary of the film, directly from his production studio in La La Cañada, a suburb of Los Angeles, Alan Howarth, former sound designer, composer and editor, collaborating with James Nelson of Digital Outland in Tacoma for Editing and Masterization, assembled and produced a limited release of 1000 copies of the soundtrack containing all of the tracks previously omitted in the MCA 6115 vinyl and Varese Sarabande VSD 5243 CD editions, both of which became collectors’ items and the objects of hot auctions involving hundreds of dollars on eBay.

In the summer of 1982 at Pi West Electronic Music Studio in Glendale (Los Angeles), the score of Halloween III was performed using Linn LM-1, an electronic musical instrument with a unique sound, programmable with an internal mixer with 13 channels capable of reproducing rhythms that imitated the sounds of drums and other percussion instruments. Many of these samples contain repetitious tones above the Nyquist frequency, a defect which creates in them a unique crackling sound, characteristic of the analog polyphonic synthesizers Prophet-10W and 5W Poly Sequencer (1978) and Sequential Circuits Programmer Mdl 700 (from the mid-70’s), running on microprocessor CMOS logic technology with RAM driven 6-bit or 5-octave 0-5V DC Control Voltages, which occupy important places in the history of synthesizers.
Defining the sound was the A.R.P. Sequencer 1601, loaded with sixteen sliders for each tuning step with which the user can program voltage controls that can be emitted in not only one line of sixteen steps but also in two simultaneous independent 8-step lines (a and b); in this way it’s possible to realize one line of melody and an accompanying harmony track or to manage accent notes using the voltage controls on the filter or the amplifier, all this combined with the famous and infamous ARP Avatar, an expensive guitar-controlled synthesizer produced in 1977 by Alan R. Pearlman, which in its time of fledgling analog/digital hybrid technology had more than a few problems, in the translation from frequency to voltage, in the delay of the emission of synthetic notes, and last but not least, an extreme sensitivity to every imprecision in the guitarist’s playing, like it’s particular tendency to yodel every time the level dropped below the sensitivity threshold of the detention circuit.
These instruments, often used by artists such as Heaven 17, WCO, Jean-Michelle Jarre, Todd Rundgreen, Art of Noise, Peter Gabriel, Rick Wakeman, Vangelis, Gas Chamber Orchestra and Tangerine Dream, are in a difficult period of audio engineering, experimental and at times defect-ridden, sometimes spurious or almost subliminal, but the soundtrack of HALLOWEEN III includes 25 tracks that flow nicely like part of a well-oiled machine, perfect to listen to in its melodies and frequencies.

As for noteworthy songs, we begin with the MAIN TITLE, recorded in 2 stages, rhythmically introduced before the images and then successively modified with electronic samplings to synchronize it with the electric pumpkin that is appearing on the screen, thereby embracing the style or, rather, the melodic mood of what will be Halloween III, which continues in the track called H3 CLOSE / OPEN. CHARIOTS OF PUMPKINS follows closely, in sync with the tail melody of the Main Title (which is also used in the End Titles), and highlights the race as Harry Grimbridge (Al Berry) attempts to flee from gray suited man, who later take his life in a memorable scene set within the walls of a hospital. That scene is elevated by the beautiful HEY BOOM, a piece that shows Carpenter and Howarth’s ability to improvise, compositionally and creatively; a piece in which the only rule is not to have rules. This was facilitated by the use of a system of synchronicity in which the film was transferred to a time coded videotape and synchronized to a 24-track master audio recorder, thus allowing them to compose the music for the visual images. The entire process, which Carpenter called, “A musical Electronic Coloring Book,” went quickly and offered “instant gratification,” allowing the composers to evaluate the score in sync with the film’s images, and this was an incalculable advantage in the advent years of digital Sequencers and Samplers.
MASK TEST ONE is another piece of absolute ambient beauty in it’s foreshadowing of the fate of the Kupfer Family, while WHERE IS SHE and IT WILL SOON BE MORNING are effectively an extended play of HELLO GRANDMA, which forms the backdrop of the capture of Doctor Challis, after fighting a Man in Gray and uncovering his robot nature.

Clearly a work that has become popular or even acquired a cult following, a work that is sought-after by collectors that can finally enjoy in it’s totality the achievement of John Carpenter and Alan Howarth, who deserve credit goes for not forgetting those memorable times and those who lived them.


Prophet-10 w Poly Sequencer
Prophet-5 w Poly Sequencer
ARP Avatar (2)
ARP Sequencer
Sequential Circuits Programmer Mdl.700
Linn LM-1 Drum Computer eq.

Written By Fabio Pirovano(Cigliano) Translated by Alisa Facchini(L.A)

The Album The Bonus Tracks
1 Main Title 2:55 13 Hey Boom 3:34
2 Chariosts of Pumkins 3:24 14 Mask Test One 1:46
3 Drive to santa Mira 2:29 15 I really Love this 1:28
4 Starker and Marge 1:53 16 Local Boy,No Way 1:28
5 First Chase 3:09 17 The Factory 0:45
6 Robots at the Factory 2:00 18 I think its Time 1:43
7 Halloween Montage 1:38 19 The Man Who Killed 2:01
8 Hello Grandma 4:53 20 A pleasure doing business 3:37
9 The Rock 3:25 21 Halloween III Close/Open 2:41
10 Challis Escape 3:30 22 Where is She 3:30
11 South Corridor 2:58 23 It will morning Soon 2:43
12 Goodbye Ellie 4:09 24 Stonehenge 3:28
25 I do Love A good Joke 3:20

Total Running time 67:55





ALEX THOMSON B.S.C. Caretaker of Vision

The Keep Set, Alex Thomson standing on right

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Sir Alex Thomson,born in London UK 12 jan 1929, was President of the BSC in 1981/1982,Golden (but desaturated to shining Silver) years where he recived an Academy Award Nomination for John Boorman’s Excalibur(1981) and later won the BSC award for best cinematography with Ridley Scott’s Legend(1985) All stared on 1946 at the now-defunct Denham studios ,began work as Clapper boy for So Well Remembered shoot by Freddie Young,then later he stayed at Denham under the aegis of some of best cinematographers in the industry until 1951,then moved at camera dept. of Technicolor ltd. on 3-strip cameras working on such diverse films as Richard III with Laurence Oliver acting and Directing. He Left Technicolor when 3-strip became obsolete and began as a freelance camera operator,forming a long association with the then cinematographer and now respected director Nicolas Roeg,which he earned a BSC Award with Eureka. His first film as Director of Photography was Clive Donner’s Here We Go Round the Mulberry Bush,he went on photograph another 53 pictures,among them Cimino’s Year of the Dragon,Fincher’s Alien3 & Harlin’s Cliffhanger until his retirement on 2001. On 1983 was called by Michael Mann on Shepperton Studios and on locations in Llechwedd & Llanberis’s  Gwynedd North Wales’s slate quarry for the production of supernatural gothic thriller THE KEEP.

Wales , Lake The Keep Opening Scene Location


This underrated “state of mind” masterpiece keep in its inner soul a state of art cinematography by Alex Thomson BSC ,that collaborating with De Luxe labs made a milar stone of Anamorphic System.The Keep,nominated on 1984 at Saturn Award for Best Film, was shot on Joe Dunton Camera’s 35BLIII and lenses with anamorphics which are based on Cooke optics 2s & 3s,the focal lenghts was;25mm T2.3 ,32mm T2.3 , 40mm T2.3 , 50mm T2.3 ,75mm T2.8, 100mm T2.8, 152mm T3.5, 203mm T4.5, 40-200mm Cooke Zoom T 4.5, 50-500mm T5.6 Cooke.These lenses are called “Xtal Express Series” ,this formula is still used today as happended in movies like “Kinsey” ,“The Interpreter” & “Guardians of the Galaxy” . 



In 2002 he recived the society’s Lifetime Achievment Award for outstanding contribution to the art of Cinematography;Alex Thomson a great man an outstanding Artist passed away on Thursday 14th June 2007 at St.Peter’s Hospital;Chertsey at age of 78

(c)Fabio Pirovano Sources: Guild of British Camera Technicians

Obituary supported by Kodak Plus Cameraimage

Joe Dunton

alexthomsonTAKE ONE

Tales from Behind the Camera by Alex Thomson BSC


_the_keep__film_poster_by_atom8productions-d7fg7mjCHECK THE KEEP DOCUMENTARY BY STEW BUCK BUCK GREEN FILMS

The Keep reel