There\u2019s a scene in Eternal Sunshine of the Spotless Mind<\/em><\/a> that still stands out to me as one of the best filmed sequences of all time<\/a>. It\u2019s towards the end of the film where Joel and Clementine\u2019s final memories of each other come crashing down in the form of an abandoned beach house being destroyed in the rain. It\u2019s misty, dark, and the entire sequence is lit from what appears to be a flashlight attached to the camera\u2014which itself moves around with the POV of a home-video observer.<\/p>\n While writer Charlie Kaufman<\/a> and director Michel Gondry <\/a>will always be the big creative names associated with the film, I\u2019d argue that it\u2019s actually the cinematography of Ellen Kuras<\/a> that makes it truly memorable\u2014with her innovative techniques and nuanced approach to emotion.<\/p>\n Along with Eternal Sunshine<\/em>, Ellen Kuras has shot several of Gondry\u2019s experimental films, as well as many others with the likes of Spike Lee<\/a>, Jim Jarmusch<\/a>, Rebecca Miller<\/a>, and Martin Scorsese<\/a>. And, from her earliest documentary and music video days, through her award-winning features, her cinematography has been perhaps one of the most iconic and influential of her generation.<\/p>\n
\nEmpathy and Shooting with Your Heart<\/h3>\n