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Gordon Hugh Willis, Jr., ASC (May 28, 1931 – May 18, 2014) was an American cinematographer. He is best known for his work on Francis Ford Coppola's ''The Godfather'' series as well as Woody Allen's ''Annie Hall'' and ''Manhattan''. Fellow cinematographer William Fraker called Willis's work a "milestone in visual storytelling", while one critic suggested that Willis "defined the cinematic look of the 1970s: sophisticated compositions in which bolts of light and black put the decade's moral ambiguities into stark relief".〔Garrett, Steven. ("Take Five With Gordon Willis" ), Time Out New York; retrieved March 4, 2011.〕 When the International Cinematographers Guild conducted a survey in 2003, they placed Willis among the ten most influential cinematographers in history.〔("Top 10 Most Influential Cinematographers Voted on by Camera Guild" ), Camera Guild, October 16, 2003; retrieved 2011-01-28.〕 ==Character of work== Willis's work became celebrated for his ability to use shadow and underexposed film with a "subtlety and expressivity previously unknown on colour film stock", with one critic citing as examples Don Corleone's study in ''The Godfather'' and a parking garage in ''All the President's Men''.〔 Willis's friend, cinematographer Conrad Hall, named him "The Prince of Darkness"〔("Gordon Willis, the Man Who Shot The Godfather" ), Harvard Film Archive, November 30, 2009; retrieved March 4, 2011. 〕 but Willis himself preferred to talk in terms of "visual relativity", saying: "I like going from light to dark, dark to light, big to small, small to big". Discussing ''The Godfather'' he said: "You can decide this movie has got a dark palette. But you can't spend two hours on a dark palette. . . So you've got this high-key, Kodachrome wedding going on. Now you go back inside and it's dark again. You can't, in my mind, put both feet into a bucket of cement and leave them there for the whole movie. It doesn't work. You must have this relativity."〔 Director Francis Ford Coppola said of Willis, "He has a natural sense of structure and beauty, not unlike a Renaissance artist,"〔("Gordon Willis: Honorary Award" ), Academy of Motion Picture Arts and Sciences, 2009; retrieved March 4, 2011. 〕 while Willis was praised for his capacity to use "painterliness" to define "not just the look but the very meaning and feel of a film".〔 Speaking of contemporary film-making in 2004, Willis said: "I'm delighted that people can fly, dogs can talk, and anything destructive can be fashioned on the screen, but much of what's being done lacks structure or taste. As I've asked in the past: can anyone give me the definition of a camera? It's a tool, a means to an end. So is a light, and everything else you can pile on your back. They're all meant to transpose the written word into moving pictures that tell a story."〔MacIntyre, April. ("Gordon Willis Interview" ), ''Below The Line'', July 1, 2004; retrieved March 5, 2011.〕 Another of Willis's trademarks was a preference for filming at the magic hour before twilight, when the sun is low and creates a golden glow. Willis created the trope of warm ambers to denote nostalgic glow for the past for the young Vito sequences of ''The Godfather Part II''. Many films since then have copied this cinematic technique when depicting pre-World War II America. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Gordon Willis」の詳細全文を読む スポンサード リンク
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