Forum de FilmDeCulte

C'est moi ou là tu n'as pas mis les duos

De Wexler je ne remarque que LES MOISSONS DU CIEL, même si y a sans doute d'autres belles choses. Mais Debie a fait les Gaspar Noé donc:
Haskell Wexler
Benoît Debie

The production ran so late that both Almendros and camera operator John Bailey had to leave due to a prior commitment on François Truffaut's The Man Who Loved Women (1977). Almendros approached cinematographer Haskell Wexler to complete the film. They worked together for a week so that Wexler could get familiar with the film's visual style.[18]

Wexler was careful to match Almendros' work, but he did make some exceptions. "I did some hand held shots on a Panaflex", he said, "[for] the opening of the film in the steel mill. I used some diffusion. Nestor didn't use any diffusion. I felt very guilty using the diffusion and having the feeling of violating a fellow cameraman."[21] Although half the finished picture was footage shot by Wexler, he received only credit for "additional photography", much to his chagrin. The credit denied him any chance of an Academy Award for his work on Days of Heaven. Wexler sent film critic Roger Ebert a letter "in which he described sitting in a theater with a stop-watch to prove that more than half of the footage" was his.[25] Later in life, however, he had accepted Almendros receiving credit as cinematographer:

I thought, "Well, God damn it. I should get credit with Nestor on it." And then I had talks with the producer, Bert Schneider, and he said, "Look, you've won Oscars already. What the hell, Nestor should have it." So then I said to myself, "Well, Haskell, you're being a little selfish." And the real thing that convinced me not to say anything ... was that Nestor set the tone of the film. It was actually me maintaining his style to a certain extent, so if there was to be an award, which we didn't know there would be, he should get it. And I'm so happy now — particularly since he is no longer with us — that that happened.[26]