NEW SHOTS: PATHS OF GLORY, THE BREAKFAST CLUB,
HUSTLERS, THE DARJEELING LIMITED
10.02.20 / New Shots
This week we’re excited to add another 1000 fully-tagged shots to ShotDeck from some exceptional films.
First up we’ve got new images from Stanley Kubrick’s classic PATHS OF GLORY. After the critical success but commercial failure of his previous effort The Killing, Paths of Glory established Kubrick as a singular talent within Hollywood and would go on to become one of the most beloved and influential war dramas ever made. If you’re curious, try doing a side-by-side analysis of the iconic trench tracking shots from this film and last year’s 1917.
We’ve also got a bunch of new images for John Hughes’ 1985 classic THE BREAKFAST CLUB. The film was shot by Thomas Del Ruth (who also shot Stand By Me). While less of a visual feast than some other entries, this film features some truly iconic character types that would go on to serve as templates for countless other teen comedies and coming-of-age films over the subsequent decades. An essential reference for anyone looking to style an 80s jock, rebel, recluse, etc.
Then we have 2019’s hit crime drama HUSTLERS, directed by Lorene Scafaria and shot by Todd Banhazl. This film is chock full of fantastic references for Manhattan nightlife interiors, whether its the strip club main room, with its hazy air and magenta spotlights, or the fancy east side bars with their warm lamp-lit glow. Quick reminder that you might wanna take advantage of our “Exclude nudity” function (found in the left filter bar) if you happen to be checking out these images at work or in a coffee shop!
Finally we’ve added images for Wes Anderson’s 2007 comedy of brotherly-bonding THE DARJEELING LIMITED, shot by long-time Anderson collaborator Robert Yeoman. While less formally rigid than some of Anderson’s more recent pictures like Moonrise Kingdom or The Grand Budapest Hotel, the film still oozes with his signature visual style, this time transposed into the context of the gorgeous Indian countryside. Take note of the meticulous palette of yellows, blues and oranges that make up the fantastic production design by Mark Friedberg, who recently served as production designer on last year’s Joker.