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Staff Picks: What to Watch in March

From popular franchises to brand new worlds of exploration, science fiction and fantasy stories are more popular than ever. Check out our list of the best and brightest new and upcoming movies and series.

New and Upcoming Sci-Fi and Fantasy

Distinguished veteran cinematographer John F. Seitz had eighteen patents for various photographic processes to his name. These included illuminating devices, processes for making dissolves and the matte shot, which he perfected during filming of Rex Ingram's Trifling Women (1922). Seitz started with Essanay in Chicago, then joined the St. Louis Motion Picture Company as a lab tech in 1909. Within another four years, he had progressed to director of photography. He was signed by Metro in 1920, doing his best work in collaboration with Ingram, most notably on The Four Horsemen of the Apocalypse (1921) and The Prisoner of Zenda (1922). Personally selected by William Randolph Hearst, Seitz was also behind the camera for The Patsy (1928), one of the major hits for Hearst's mistress, Marion Davies. By this time, he was the highest paid cinematographer in Hollywood.

Seitz's trademark was low key lighting and differentially illuminating different regions of the screen (ie. background, foreground and middle). His colour photography was characterised by a tendency to favor tan or beige as backgound colours, and vivid colours for costumes or props. Seitz's career in the 1930's, spent at 20th Century Fox (1931-36) and MGM (1937-40), was generally unremarkable. However, he enjoyed a massive resurgence at Paramount (1941-52), working on some of the best films made by Preston Sturges (Sullivan's Travels (1941), Hail the Conquering Hero (1944) and The Miracle of Morgan's Creek (1943)) and Billy Wilder (Double Indemnity (1944), The Lost Weekend (1945) and Sunset Boulevard (1950)). Add to that another two excellent films noir, This Gun for Hire (1942) and Lucky Jordan (1942) - both directed by Frank Tuttle and starring Alan Ladd. He was a master at creating atmosphere through ominous shadows and looming close-ups.

Had been a member of the American Society of Cinematographers (ASC) since 1923. Served as President from 1929 to 1930.

Is not, as has been often stated, related to director <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0782707/?ref_=nmtrv_trv">George B. Seitz</a>, although the two were friends and had actually worked together.

Cinematographer for two consecutive Oscar Best Picture winners: <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0036872/?ref_=nmtrv_trv">Going My Way (1944)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0037884/?ref_=nmtrv_trv">The Lost Weekend (1945)</a>, and three other Best Picture nominees: <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0021826/?ref_=nmtrv_trv">East Lynne (1931)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0036775/?ref_=nmtrv_trv">Double Indemnity (1944)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0043014/?ref_=nmtrv_trv">Sunset Boulevard (1950)</a>.

The favorite cameraman of Alan Ladd, with whom he worked on more than twenty films.

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John F. Seitz

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