P R E S S
“Irving’s trademarks (include) precise framing and camera movement; acute attention to color, lighting, and texture; and a stately grace.”
--Filmmaker Magazine
Click HERE to watch a video interview with Matthew Irving, conducted by Entertainment Insiders at Sundance 2007, for Adrienne Shelly’s WAITRESS
Click HERE to read an interview with Matthew Irving, conducted by Corey Boutilier (pictured above) for IndependentFilm.com
“Matthew Irving’s cinematography helps maintain the film’s aura of intimacy while never intruding. His camera approaches the action, slowly tracking down hallways and shooting around corners, catching (director) Barbieri’s characters during their most revealing moments.”
--Ken Fox, TV Guide Online
Click HERE to read the full article
“Give a nod also to Production Designer Reuben A. Freed and Director of Photography Matthew Irving for giving this low-budget vehicle a professional and polished look.”
--Dennis Prince, DVDVerdict.com
Click HERE to read the full article
“Jenna (Keri Russell) is a ‘pie genius’, having inherited her late mother’s gift for thinking up scrumptiously imaginative baked goods. The desserts provide a mouth-watering visual motif thanks to Matthew Irving’s heightened-color lensing.”
--Dennis Harvey, Variety
Click HERE to read the full article
FILMMAKER MAGAZINE names Matthew Irving as one of the
“25 New Faces of Independent Film” for 1998.
--IndieWire
Click HERE to read the full article
“Harrison has a secret weapon in cinematographer Matthew Irving.
Irving delivers a look that is richer, smoother and more intricately lit (while never
showing off) than almost any film that you will find.”
--David Poland, The Hot Button
Click HERE to read the full article
“Especially pleasing is how cinematographer Matthew Irving recreates the bleached-out
images of 1970s movies, contributing to the sense of hallucinogenic disorientation.”
--Thomas Burchfield, Big Screen
Click HERE to read the full article
“WAITRESS looks like a beguiling cartoon--the Coen Brothers crossed with THE UMBRELLAS OF CHERBOURG. Every element has been stylized: the cinematography, the costumes, and the production design. Aspiring filmmakers could profit from studying (the scene between Keri Russell and Andy Griffith), which looks as simple as apple pie--nothing forced, nothing dwelled on, no tight close-ups to sell big moments, just discreet camera moves that amount to optical tiptoes, precise editing that leaves each moment on a still-rising note, and abiding trust in what a pair of expert performers can do with a strongly crafted scene.”
--Joe Morgenstern, The Wall Street Journal
Click HERE to read the full article
“First and foremost, THE ECHO is a beautiful film... every shot, every interior, every creeping, crawling camera movement; it all comes together wonderfully to add a thick tension to the proceedings, which in a film that is as deliberately paced as THE ECHO is incredibly important to keep the audience.
...THE ECHO is beautifully shot with amazing production design, dripping with atmosphere and tension like I’ve not seen in the Asian remakes since the trend first started.”
--Johnny Butane, DreadCentral.com
Click HERE to read the full article
“If you care about the best kind of independent filmmaking, if you want the option of experiencing artistic films when you go to the movies, missing out on ONE is not an option. When a film like this appears, attention should be paid.”
--Kenneth Turan, Los Angeles Times
“It looks great: Director of Photography Matthew Irving turns the black-and-neon world of a rave into a mysterious and beautiful labyrinth.”
--The Sunday Herald
