But when we sat down to talk about the film during that first meeting, I really liked what he was saying about the film, how he wanted to shoot it, and his vision of being a foreigner in L.A. - something I shared, having been born in Argentina, living in Spain, studying and working in London and eventually transplanting to L.A. It’s funny you ask me that, because my reaction to the script is what got me the job. What was your first reaction to the script? On paper, I’d imagine it would be fairly jarring. It’s a really fantastic creative marriage, though, even though we’ve only been working together for a year and a half. It feels like we’ve known each other for much longer. The Italians were asking us how long we had been married, which was so funny. The last thing we did was a fashion shoot for Vanity Fair in Rome. But we’ve been working together on everything he’s done since this film. I’d never met him before I went to our first meeting. StudioDaily: Was this the first time you’d worked with Refn - and was this your first horror film? Cinematographer and new Academy member Natasha Braier, whose credits include XXY, The Rover and the Oscar-nominated The Milk of Sorrow, explains. But the controversial film, an early offering from Ted Hope’s Amazon Original Movie division of Amazon Studios, deserves another look, especially to see just how Refn and his team achieved what they did in camera on such a limited budget. Yes, it elicited boos at Cannes (more on that later), head-scratching from some critics and, deadliest of all, indifference at the box office. More.Shooting in Scope, Smearing Blood on the Lens, and Getting Booed at Cannes: A DP's Journey with Nicolas Winding Refnĭirector Nicolas Winding Refn’s The Neon Demon, a visually mesmerizing, surreal gorefest set in the modern gothic world of fashion, is not exactly what you think it is. The three variation axes (width, weight, slant) are also all accessible in a variable font version that is included with the whole family. The result is a super-family of 9 styles of 8 weights for a total of 72 fonts, each coming with an extended set of 968 glyphs covering over 200 languages using Latin, Greek and Cyrillic scripts. Thanks to the help of Andrea Tartarelli and Mario de Libero the original design was extended along with the design space, expanding the number of weights and widths with a "workhorse typeface" approach, and adding also a slanted axis to experiment with italics. The typeface name was chosen as an homage to the mythical homeland of the Norse Gods, evoking a land of fierce warriors, power and strength - but also of divine, delicate beauty. He built the typeface around a strong geometric sans skeleton, to make the letters feel solid and powerful while using wood-type vernacular solutions to solve density through high contrast details. Have a question?: Canovaro designed Asgard as a way to mix his passion for the raw energy of extra bold sans serif typography with the expressivity of high contrast and calligraphy-inspired letterforms. To download the full font family (all weights, glyphs and numbers) and acquire the commercial license please visit our website: The font here is for PERSONAL/NON-COMMERCIAL USE ONLY!
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