"Honestly, though, the greatest strengths of Blade: The Iron Cross lie in its technical elements. I’ve been so used to a static camera in this franchise for so long that to see something else was almost jarring. Other entries, even ones that I like, often had an air about them that suggested that if something was in the frame and in focus it wound up in the movie. Blade has a very energetic, kinetic camera. It is constantly moving and that is very nice to see after all this time. It’s also the most impressive thing because, again, I watched a live-stream of the entire principal photography and I know how much time they didn’t have. This is the most fluid camera work I’ve seen in a Full Moon movie since Castle Freak. And it’s not just the camera movement, either. Lighting plays a big role, too. There are a lot of period genre pastiches going on here, and they’re all lit very appropriately, from the snappy reporter stuff to the heavily shadowed noir elements and the seedy bad guy hideout". www.wickethorror.com
Your greenscreen bicycle shots were perfect. The key was easy to pull. If you can do better, it's gravy!
JOHN LECHAGO, Producer/Director 9/19
While this could have easily been a small ensemble stage play, director Quincy Rose provides us with a cinematically active yet relaxed view into these lives. The gentle sway of Howard Wexler’s hand-held cameras is just enough to invite us into the kitchens and bedrooms of these friends. It’s intimate, as is appropriate, and draws the viewer into these stories. FRIENDS F…ING FRIENDS F…ING FRIENDS FANBOY PLANET
..."I bought this DVD because I was curious about why anyone would shoot direct-to-video films in 2.35:1. The results are very beautiful given the budget and shooting schedule (DP Howard Wexler must be a master craftsman)..." E-mail comment to the producer/director of Brotherhood 1 and 11. (4/02)
DVD AUTHORITY review of Picasso Trigger and Hard Ticket DVD release 11/2001.
These were two of my early features as DP...
...is presented in a full-frame transfer. I was quite taken by the transfer here, as the image looks excellent and puts all previous editions to shame. The print used shows some minor flaws, but it cleaner than any prior home video version, with minimal debris and grain evident, very impressive work. The colors look lush and vibrant, with no signs of errors, and flesh tones are natural as well. I saw no reason for concern with contrast either, as black levels are sharp and on the mark, no problems in the least there. I figured the image would be better than before, but I am very pleased with the result here, as Picasso Trigger has never looked better. Picasso Trigger
Hard Ticket to Hawaii is presented in a full-frame transfer. After seeing Picasso Trigger, I had hoped for the same kind of results and thankfully, this movie also looks terrific. The print looks clean and shows no real wear signs, which was a pleasant surprise, to be sure. No issues in terms of colors either, as the tropical hues look beautiful and bold here, while flesh tones are natural and that's crucial in this movie. The contrast is smooth and never wavers, so detail is well defined and black levels are dead on. I never expected this movie to look so sharp and clean, so I think fans will be nothing less than thrilled with this presentation.
...having been made with a light touch and an ear for broad humor and has an easy,
graceful style heightened by Howard Wexler's beautifully modulated black-and-white cinematography...
Kevin Thomas, "Leather Jacket Love Story, " LA Times, 5/22/98
...thanks for sending me your reel, you do good work...
Director Jonathan Demme
Howard Wexler's fine camera work picks up on the many aspects of the author and his life, with colors subtly used to catch moods and actions...
Variety, review of Mark Twain, Beneath The Laughter
...I thought of you and Chris and how you would set up a scene...and it reminded me of Lee Marvin talking to Josh Logan. Nice memories.
Dick Reyes, actor
... high-quality production and contains inventive camera work...
Roanoke Times, review of Picasso Trigger
...your openness and support, to say nothing of your incredible
cinematography created an atmosphere of security for me which
enabled us to make a great film...
Stuart Sheslow, producer/director
...your cinematography is very consistent, making my job very easy... Anthony Dicovitsky, CFI colorist
...Wexler's technical expertise and artistic talent are the spine of our productions. I hold his contribution to our films in the highest regard... Producer Arlene Sidaris, Malibu Bay Films
....Howard's work was outstanding in every respect...Producer Arnold Orgolini
...Howard Wexler's lighting and color and overall cinematography are genuinely impressive...Producer Thomas L. Wilhite, Hyperion Entertainment
...Howard makes the best use of time of any DP I know...Gary Lowe, Producer
...what a pleasure it is to work with you on a shoot. You keep doing the impossible and seem to enjoy doing it...Larry Yust, Director
...it was wonderful working with you...thank you for caring so much about the PSA's, for shooting such fabulous material, and for making it fun! Roberta Goldberg, Producer/Director, ABC
...a sweet, sexy little movie...very genuine...the black and white cinematography is quite an accomplishment, as is the amount of coverage DeCoteau has gotten on his budget... Gregg Kiday, Entertainment Weekly
...your work is very consistent...Fred Silverman, Producer
...An excellent portrayal of a shrink and his wife's affair...
funny, poignant, and decent directing..LovingLulu, feature produced and directed by Howard Wexler
Silversea was very happy with the video we shot and put together. They thought it was great, perfect, exactly what they wanted, and more. Thanks again. Producer/Director A. Minasian 3/07
Just a quick note of thanks on the Ridley Scott shoot...
The network suits loved the look...and my cut...Talk to you soon...