Some context: Gilliam was born in Minneapolis, Minnesota, the son of Beatrice (nee Vance) and James Hall Gilliam. His father was a travelling salesman for Folgers before becoming a carpenter. Soon after, they moved to nearby Medicine Lake, Minnesota. The family moved to the Los Angeles neighbourhood of Panorama City in 1952.
Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography, often recognisable from just a short clip; to create a surreal atmosphere of psychological unrest and a world out of balance, he frequently uses unusual camera angles, particularly low-angle shots, high-angle shots, and Dutch angles. Roger Ebert said that "his world is always hallucinatory in its richness of detail." Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion and extremely deep focus. Gilliam's long-time director of photography Nicola Pecorini has said, "with Terry and me, a long lens means something between a 40mm and a 65mm." This attitude markedly differs from the common definition in photography, by which 40 to 65 mm is the focal length of a normal lens, resembling the natural human field of view, unlike Gilliam's signature style, defined by extreme perspective distortion due to his usual choice of focal length. The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of his frequent use of it at least since Brazil. Gilliam has explained his preference for using wide-angle lenses in his films: The wide-angle lenses, I think I choose them because it makes me feel like I'm in the space of the film, I'm surrounded. My prevalent vision is full of detail, and that's what I like about it. It's actually harder to do, it's harder to light. The other thing I like about wide-angle lenses is that I'm not forcing the audience to look at just the one thing that is important. It's there, but there's other things to occupy, and some people don't like that because I'm not pointing things out as precisely as I could if I was to use a long lens where I'd focus just on the one thing and everything else would be out of focus. ... [M]y films, I think, are better the second and third time, frankly, because you can now relax and go with the flow that may not have been as apparent as the first time you saw it and wallow in the details of the worlds we're creating. ... I try to clutter [my visuals] up, they're worthy of many viewings. In another interview, Gilliam mentioned, in relation to the 9.8-mm Kinoptic lens he had first used on Brazil, that wide-angle lenses make small film sets "look big". The widest lens he has used so far is an 8-mm Zeiss lens employed in filming The Imaginarium of Doctor Parnassus.
what was the look and style of Gilliam?
A: Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography,
Some context: Born on 17 February 1940 in the suburb of Huentitan El Alto in Guadalajara, Jalisco, Fernandez spent his early years on his father Ramon's ranch on the outskirts of Guadalajara. He also worked at a young age as a waiter, dish washer, cashier, and finally manager of his uncle's restaurant. "Chente", as he was known to all, became fond of the idyllic ranch lifestyle. His mother often took him to see the films of Pedro Infante; he has said of these films' significance: "When I was 6 or 7, I would go see Pedro Infante's movies, and I would tell my mother, 'When I grow up, I'll be like him.'
In the spring of 1966, Javier Solis, Mexico's most popular traditional singer, died. Discos CBS, the recording label in the Mexican department of CBS Records International, offered Fernandez a recording contract. He released his first recording, "Perdoname", with the company in 1966; Fernandez still records for the label, which is now Sony Music Latin of Sony Music Entertainment. He branched into acting with the 1971 film Tacos al Carbon. His first hit movie, for which he did the soundtrack, was 1974's La Ley del Monte. He stopped acting in 1991. Maintaining the ranchera tradition, Fernandez always performs wearing the charro, an embroidered suit and sombrero. In 1970, just as Fernandez was about to go onstage, his father died. Overwhelmed by the tragic news but determined not to let the crowd go without a show, Fernandez went onstage and performed. By the end of the night the critics were comparing him to other famous ranchera artists like Jose Alfredo Jimenez, Jorge Negrete, and Javier Solis. Since then his music has expanded rapidly. In 1998, he continued to tour despite the kidnapping of his oldest son. (He was released 4 months later when ransom was paid.) Fernandez has recorded more than 50 albums in 35 years and claims to have recorded 300 more songs, making another 30 albums possible even if he retires. When he records an album, he spends 12-13 hours in the studio recording up to 18 songs; he takes a day off, then returns for another marathon session of recording another 15 or more songs. From this accumulation, he and his producer choose 12 tracks. Fernandez's greatest hit was "Volver, volver," released in 1972; his first million-selling album was 1983's 15 Grandes con el numero uno. In 1987 he launched his first tour outside the United States and Mexico when he traveled to Bolivia and Colombia. On April 16, 2016 Vicente Fernandez performed for the last time in his career at Estadio Azteca effectively announcing his retirement.
What happened with Vicente Fernandezes Breathrough?
A:
In 1970, just as Fernandez was about to go onstage, his father died.