A R C H I T E C T U R E

A N D
F I L M

S A H A R N A Z J A V A H E R I
 Thesis submitted to the faculty of the Virginia
Polytechnic Institute and State University in
partial fulfillment of the requirements for the
degree of

Master of Architecture
In
Architecture

Paul Emmons
Markus Breitschmid
Susan Piedmont Palladino
Marcia Feuerstein

June 23, 2015

Washington Alexandria Architecture Center
Alexandria, Virginia

Keywords:
Film, Movie, Screen, Space, Cinema, Cut, Director

Copyright: Saharnaz Javaheri

A R C H I T E C T U R E
A N D F I L M
S A H A R N A Z J A V A H E R I
 Fig 1

Cinematic Architecture evokes and sustains spe-

cific mental states; The architecture of film is an
architecture of terror, anguish, suspense, boredom,
alienation, melancholy, happiness or ecstasy, de-
pending on the essence of particular cinematic nar-
rative and the director’s intention. Space and ar-
chitectural imagery are the amplifiers of specific
emotions.

-Juhani Pallasmaa, The Architecture of Image. Exis-

tential Space In Cinema. Pg7.

A R C H I T E C T U R E
A N D F I L M
S A H A R N A Z J A V A H E R I
IV
A B S T R A C T
The art that is closest to cinema is Architecture.
-Rene Clair, Cinema Yesterday And Today.Pg 21.

Film does not exist without architecture. In every

movie that has ever been made throughout history, the
cinematic image of architecture is embedded within the
picture. Throughout my studies and research, I began
to see that there is no director who can consciously
or unconsciously deny the use of architectural ele-
ments in his or her movies. Architecture offers a
strong profile to distinguish characters and story. In
the early days, films were shot in streets surrounded
by architecture, and then they were projected on the
exterior walls of buildings where the audience could
come and watch.
Here, I have studied elements such as light, time,
space and matter- storymaking tools common to both
Architect and Director. Light, for example, in archi-
tecture, is used as a strong theme by Louis I. Kahn,
“the most poetic of architects” in his Kimbell Art Mu-
seum. Similarly, Alfred Hitchcock, renowned filmmaker,
utilizes light to distinguish the characters of his
Architectural drawing inspired by The Birds (1960), Alfred Hitchcock,
movies to create remarkable and sometimes horrifying director.
scenes.
This thesis aims to capture the cinematic movement
of these elements in the building design. The proj-
ect’s program is a film museum and school that is sited
in Southwest Washington DC.

A R C H I T E C T U R E
A N D F I L M
S A H A R N A Z J A V A H E R I
VI
Multimedia studies

The Story [Scenario] ----------------10 “All this will not be finished in the
The Influences [Pre Production]----------22 first 100 days. Nor will it be finished in
The Site [Scene]-----------------------36 the first 1,000 days, nor in the life of
The Program [Actors]-------------------56 this administration, nor even perhaps in
The Premiere [Performance]------------76 our lifetime on this planet. But let us
Acknowledgments ------------------- 102 begin.”
Citations---------------------------104 - Inaugural Address 1961 John F. Kennedy

C O N T E N T S VIII
 Fig 2

T H E S T O R Y
S C E N A R I O 10
 A woman in her mid- second floor where everyone had gathered to wrap the
thirties has just opened gifts.
up her camera box, and is Suddenly, in the silence of the decorated room,
trying to test-record it at the birthday boy turns the key of the door and walks
a surprise birthday party in, amazed at what he sees. He walks around the bal-
preparation, but is only loons and banners, smiling, yet wondering if anyone
gets black and white imag- is home. After a few minutes of silence, the woman
es. Everyone in this place comes downstairs, notices him and calls everyone
is doing something to get else alerting them that “he is home”. Everyone rush-
ready for this party. Some es down excited to hug and celebrate his birthday,
people are in the kitchen then woman asks them to wait until she gets her cam-
cooking and baking, others era ready and turns it on. “3,2,1..” and she turns
are decorating the walls off the camera, without knowing she has already been
and setting up the furni- recording this whole time!
ture, while kids running This was an uncut five minutes short movie I had
and laughing holding bal- made a few years ago, without any interruption dur-
loons. ing the entire length of the movie. To make this
Though the woman is five minute video, we had to rehearse for weeks,
rushing from one room to practicing the specific dialogues, the camera moves,
another and asks for help lighting, focus and placement of the object and el-
so she can record in col- ements. It was there when I realized the power of
or, no one will help her little things that come together to make a project
make it work. She is con- as a whole.
stantly playing with dif- Later when the time came for me to pick my thesis
ferent buttons on the topic, I decided to define the gap between film and
camera and focus, but architecture, and truly discover the four elements
nothing seems to work. common to architecture and film: time, light space
Eventually, she gets tired and matter as well as Making (production) and per-
of trying, leaves the cam- forming (the final result) of the two arts. This book
era on the corner of a ta- in front of you is a study stemming from my interest 3,2,1. Directed by Saharnaz Javaheri

ble, and goes off to the in bridging the gap between filmmaker and architect.

11 12
 cinema. What is behind the
camera, the techniques,
script, crew, equipment,
and work that is put on
making movies is often well
hidden to prevent the au-
dience from distraction of
To begin the analysis, I started looking into the message and the story.
the idea of frame. In film making, directors inten- The cinema and movie
tionally create the boundary to gather information are supposed to take the
which helps the script and the story. The four edges audience away from their
of the frame, captured in the lens, limit the audi- own world, and engage them
ence’s view of everything else beyond it, which is into the events and se-
what ultimately separates the audience and the cin- quence of the story. Simi-
ema. Moreover, in some shows such as House Of Cards larly in architecture, the
(Beau Willimon) the actor directly looks into the making process (construc-
camera and minimizes the visual distance between the tion) and the final product
audience and the play. In architecture on the other of the building are often
hand, idea of framing can be presented in many shapes two separate sides. In most
and forms. of the buildings, the real
A tree could be captured in a window present- framework of construction
ing a portion of its beauty completing the image of is buried behind the clean
sky with. Threshold is also another kind of frame in veneer on the occupied ar-
the architecture which could appear in the change of chitecture. In some cases,
materials of the walls and ceiling from one room to the covers disappear to
another, or doorways. Looking at what is on one side present the mark, tools and
and what is on the other side of the threshold, and equipment which makes the
what makes it essential to the information captured architecture.
inside the frame, we start seeing the different ways performative architec-
that architecture uses frame buildings. A window or ture reveals the essence of
a door frame can substantially have the same role as true material, reveals its
the camera lens and director’s intention to box a connection to the context
view to reinforce a new experience. of the site and expresses
Among the techniques of film making and the frame, the beauty of the struc- Collage inspired by street scape being as much filmic construction as
there is the process of making and performing in the ture. architecture.

13 14
 Collage
Interpreting framing
director’s hand into
a search tool for
capturing specific
and powerful infor-
mation of the dif-
ferent contexts of
site options.

15 16
 the actor, performed at
that specific part of the
play. In today’s tech-
nology however, the fast
speed of production limits
the use of architecture in
the making of the movie,
the elements of film making
have changed and impacted
the process of production, editing process where the
where films can be prepared architecture can be add-
in square green rooms, and ed to the movies with the
then revised by computer computer software, any-
software to create spe- where inside the dark and
cial effects and moods. isolated rooms and away
As a result, the outside from our physical build-
physical world has a very ing elements.
Previously, the di- small influence on the pro-
rectors shot the movie duction of the image. Be-
in the actual environment hind the stage techniques
and landscape. The film in the other hand, don’t
crew traveled and relo- remain a mystery when
cated to places to use the watching the movies. The
architecture in differ- effects, sound, light and
ent scenes. In The Birds space are added and modi-
by Alfred Hitchcock, the fied later after the shoot-
movie was created with ar- ing, never presented in
chitectural elements such the production level be-
as an abandoned attic in fore the reaching the ed-
a house and the attacking iting rooms. The film crew
birds come through the has less connection to the
room from a small open- world of architecture and
ing in the window. Every its effects. Everything
element of this scene is remain to be part of the
physical and just like

17 18
 Thinking of my favor-
ite buildings museums and
places, I began to visu-
alize spaces in the form
of storyboard to better
understand how the spaces
influenced my experiences
there.
As I.M.Pei says, “it
is not the amount of time
spent in a museum that’s
important, it’s the qual-
ity of the experience. I view and opening. In this
learned that many years storyboard, a window for
earlier when we’d take our example, is framed spe-
children to museums. They cifically towards sections
were never very interested of certain objects where
in The Metropolitan, de- it metaphorically proj-
spite its terrific collec- ects the completed image of
tion, but always loved to those objects towards us.
go to Guggenheim, I never I then had my character go
forget that.”(I.M.Pei Com- through different geomet-
plete Works. Pg 135.) ric shaped rooms of spa-
On my storyboard, I vi- tial characteristics such
sualized a scenario where as narrow hallways or ra-
curiosity leads an indi- dial spaces, to analyze the
vidual to start the jour- idea of unique spaces as
ney into a building, where individual, and as parts of
varying threshold change a large building when they
his perspective at every all come together as whole.

19 20
T H E I N F L U E N C E S
P R E P R O D U C T I O N
22
 The physical models present different studies of
light, space, matter and time. From the earlier stages
of thesis, models were integral to designing differ-
ent spatial qualities, even before having a specific
program or site. By not having a specific site or a
program, study models developed the true character
of what was later captured in the final architec-
ture. A linear series of stairs, leading to different
platforms, and connecting or disconnecting different
floors, became the representation of the “cut” in film-
making, which connects or disconnects perspective or
scene changes. Moreover, the stair series itself be-
came the journey which one goes through to get to the
end of the movie/last floor of the building. Each floor
becomes a different sequence of events that comple-
ments the movements though the stairs.

Study models of different special qualities

within a room

23 24
 lead to a massive atrium
John Fitzgerald Ken- with a view to the sky
nedy’s Presidential Li- and the river where they
brary and Museum designed don’t want to see or hear
by I.M.Pei was one of the anymore. As Pie explains
most influential prece- “They thoughts become the
dents studied to under- memorial”(I.M.Pei Com-
stand the essence of emp- plete Works. Pg 107.) The
tiness and sacred silence memorial materialized in
in a museum. At the begin- my mind as I understood
ning visitors enter the the confluence of the
lobby and journey through building’s bright color
a series of dark exhi- against the calm river,
bition and rooms to see against the geometric
and experience Kennedy, progression of stairs,
his life and his fami- against their meeting
ly. These exhibitions all with water’s edge.

John Fitzgerald Kennedy’s Presidential Library and Museum

On my visit into this building, I experienced

the break, a moment of pause by approaching this
window. A single opening framed the skyline of Bos-
ton, command silence from visitors in the exhibi-
tion rooms; it projects significant indirect light
into the dark museum. This opening remains essential
for its uniqueness throughout the entire museum and
visible from the exterior side of the building.
John Fitzgerald Kennedy’s Presidential Library and Museum
John Fitzgerald Kennedy’s Presidential Library and Museum

25 26
 Fig 3

“We place our feelings, de-

sires and fears in build-
ings. A person who is afraid
of the dark has no factual
reason to fear darkness as
such; he is afraid of his
own imagination, or more
precisely of the contents
that his repressed fantasy
may project into the dark-
ness. The great mystery of An opening through a wall towards the horizon.
artistic impact is that the
fragment is capable of rep-
resenting the whole. A mere
hint or foreboding claim
the authority and experien-
tial power of reality, and
detached fragments make up
a story possessing a sense
of logical progression.”

Juhani Pallasmaa The Ar-

chitecture of Image. Exis-
tential Space In Cinema. Pg
31. John Fitzgerald Kennedy’s Presidential Library and Museum

27 28
 35 mm film negatives: the physical media of movies.
I analyzed this essential, though unseen material, to
see how it could inform architectural elements and
pieces of a building. The notion of proportion, length
of the film, and ongoing sequence of events were used
to develop a series of sections and plans. These in-
corporate stairs and their progression as they land at
different floors, a wall and its functions that change
from the bottom to the top of the building as well as
a thick , lower seating area which progresses to a
thin railing on a balcony.

29 30
 Cinematic section sug-
gests the programmatic op-
portunities within the
building; the theatre which
feels heavy being the low-
est level embedded on the
ground while the studio
spaces sit on the top and
metaphorically point to-
wards the infinite sky of
knowledge and learning.

31 32
While making and remak-
ing of was a big part of
the initial design, I be-
gan looking into the public
versus private in architec-
ture. I started to create a
museum of film where people
come together to be part
of the backstage of the
film production, and where
they could be behind the
glass walls and watch the
actors rehearse. In this
museum, the public could
step into the semi-private
areas to engage into the
process of film making, or
in some parts be the ac-
tors as well. I then began
creating the individual to bring back the quali- Interior rendering of a museum space and sense of isolation
functional spaces such as ties of into the produc-
practice room, which even- tion level of movies, I
tually would be part of a designed the material of
bigger space such as a pro- the walls with different
duction room. Walls could textures where they could
move from one end to anoth- be part of the set. One
er and make specific spaces being stone and one being
smaller or larger. There- brick, the users had the
fore, the functions of the option of shooting the
rooms would be determined movie in different parts
by the demand of the user. of the room to take ad-
Rooms could be set for any vantages of different as-
size or dimension for the pects of materiality in
big or small scenes. Trying architecture.

33 34
 Site Plan- Metaphorically demonstrating the light, camera and action.

T H E S I T E
S C E N E 36
 From the earliest site visit, where South Capitol
Street meets the water, I noticed the great poten-
tial of this site due to its location near the Ana-
costia River, land and the Frederick Douglass Memo-
rial Bridge; the building in this site could act as a
threshold and the gate to the city. The South Capitol
Street site is located close to an area called Buz-
zard Point, in the Southeast Washington D.C. Another
reason for picking this site was its strong axial con-
nection to the Capitol. When first visiting the site,
I couldn’t resist noticing the small lights shining
from the Capitol building visible on the perspective.
The street was like a director’s cut with the north-
south axis chopping the site into two parts, similarly
on how it connects/disconnects the city into west and
east and continues to merge into the water.

Perspective rendering of the south capitol street site Fig 4

37 38
 While the proposal of
the Buzzard Point Urban decades, along with the
Design Development planned proposal for the site’s
on placing a building to future development, as
block South Capitol Street well as my own design. As
exactly where my chosen a result, a combination
site meets the water, I of past, present and fu-
had already envisioned a ture formed the proposed
different scenario. I had site plan for my thesis.
vision the different sce- ered a scenario where the
nario. I had designed the information of the fu-
historic street to remain ture proposal develop-
uncut and continue running ment plan combines with
through the site towards my own design, along with
the end of the block. The the data gathered from
60’ promenade (followed by the analysis received on
the width of the South Cap- the site analysis for the
itol Street) remains undis- past decades. As a re-
turbed where it meets the sult, a combination of
water. After research and past, present and future
studies, I planned a com- formed the proposed site
bining analysis from past plan for my thesis.

Proposed Site scenario, information gathered from the site history and future development proposals.

Fig 5

39 40
 I visited the site in the daytime and nighttime,
on different days of the week. I carefully analyzed
the views towards and from the location of the site.
I studied the context, materials, sounds, surrounding
buildings, the river, vegetation, sun orientations
and topography. I imagined numerous possibilities of
ideas by clearing the restriction of the things I
could or could not do towards designing this building.
The street setback, zoning, regulations, and height
restrictions have started to inform the initial mass
of the building. Moreover, the grid of the city on the
left side of the site reinforced a strong linear edge,
where the river suggested of a more flexible language
and a platform which could gradually meet the edge of
the water.

41 42
 1818

Fig 6
of the site did not exist
in the way we see it to-
day; in fact, it was all
covered by water. Little 1894
by little, land has been
added to the water front
and extended the histor-
ic street further to the
south, yet the future pro-
posal of have shown ren-
derings of a building
I studied the land and blocking the street from
the edge of the water on going further south to the 1960
Buzzard Point throughout water. Interesting facts
the history. Looking at the from the historic and the
maps of library of congress future proposed plan led
from 1818, 1894, 1960 and me to pick ideal elements
the current situation of and functions, such as
the site, I learned that a maintaining the 60’ street
great level of transforma- throughout the site, the
tions that happened on the strong city grid and more
streets and the edge of the flexible design on the wa-
water around my site. In ter side to create a pro- Fig 7 2015
1818, the current location posed site plan.

43 44
 I sketched the site
analysis on the drafting
table to prepare a boundary
of which I could start de-
signing the exterior form
from, where my structure
system could be defined and
where the “cut” through the
site could gain more mean-
ing. I analyzed the quali-
ties of the river and its
impacts on the site as well
as the land followed by a
grid on the west side.

45 46
 Having a major historic street divide the site
into two parts, I started to look at this cut similar
to director’s cut between two scenes. I began thinking
of site A and site B, where they both had different
characteristics depending on their surroundings, yet
shared a few similar program spaces, such as the 60’
promenade that would connect the two sides together.
One side was exposed to the water and its natural
float, and one was mimicking the rigid city block and
the grid of that was repeating on the west side. Look-
ing closer at the historic street of South Capital, I
noticed that not only is it dividing my site in two,
but also it cuts the city of Washington D.C into two
parts, East and West. The street through the site was
similar to its qualities in the city, as if it has
been the joint, the glue in between the two sides. The
street was the strong connection to metaphorically
represent stitching the art of film making and archi-
tecture. I then realized my earlier studies on making
and performing as well as public and private. It was
then when I realized the duality of my researches and
studies have come into the place into picking the lo-
cation of my site.

47 48
 These sketches show the initial designed proposal of the exterior form of the
building, divided into two parts by uninterrupted cut of the street through the
middle of the site.

49 50
 Rendering of interior
space shows the quality and
material studies to appear
and disappear the signifi-
cant views from the build-
ing. This view was stud-
ied to be presented as one
of the glorious moments as
one arrives on the very top
floor of the building.

51 52
 Physical models of the
exterior form, along with
sketches of the structural
grid of the building where
inspired by the 35mm nega-
tive film. The east form of
the building gradually be-
gan to cascade towards the
edge of the water, while
the one on the west re-
mained strong, thin and
tall following the street
orders and grid.

53 54
T H E P R O G R A M 56
A C T O R S
 I couldn’t resist defend-
ing the narrow building as
the practice, behind the
scenes and private space,
which eventually became to
be the Film Academy. The
other half of the building
remained as public museum,
which is also projected to-
wards the river. The space
in the middle which was the
public promenade remained
the same and a ground the-
atre in the lower level of
the promenade was estab-
After site analysis lished.
and considerations about
the kind of building the
site needed to become, the
programs were assigned to
the space. Performing and
performance have stayed
strong throughout my stud-
ies topic. As I began to de-
fine the characteristics of
the building by programs,

57 58
 The structural grid of
the linear building had
been influenced by the neg-
ative film, repeating dif-
ferent sequences of events
throughout the progression
of space; casting differ-
ent shadows and movement
depending on the movement
of sun in different times
of the day

59 60
Fig 8

The ratio of the cine-

matic screen defined the ve-
neer and exterior size of
materials on the façade.
One of the walls has dif-
ferent openings and punches
to cast shadows and light
into an exhibition space,
gently informing the visi-
tors of the gradual move-
ments of the sun throughout
the day.

61 62
 Rendering through an interior space with the light casting through the openings of the wall

63 64
65 66
 Interior perspective of the mu-
seum and the café below the stairs.

Roof plan on the site

68
 A screen was placed on
the elevation of the muse-
um, for the public to view
films from the promenade,
as well as the students to
view their own movies that
they had produced in the
other building, Film Acad-
emy
Special qualities of Longitudinal section showing the red beams below the promenade space.
different rooms through a
cross section express dif-
ferent levels of three dif-
ferent building parts, the
film museum, the promenade
and the film academy.

Cross section, Introducing three sections of the building. The film Academy, the promenade, and the film museum.

60 70
 Study model of the cas- Physical model
cading stairs from the
promenade platform meeting
the edge of the water.

Physical model- representing the punched wall

Sketch of the south elevation of the building

71 72
 Longitudinal section through the promenade stairs

Cross Section and roof analysis

73 74
 Green Wall- Presenting all study models, sketches and site analysis

T H E P R E M I E R E
P E R F O R M A N C E
76
Perspective rendering through the film academy. Structure reinforced the
progression through the space as one goes through sequence of events,
similar to the film negative.

Final Site Plan 0’ 30’ 60’ 120’

77 78
Basement Level 0’ 10’ 20’ 40’

First (Street) Level 0’ 10’ 20’ 40’

79 80
 The promenade level en-
courages visitors to walk
up the stairs, look back
towards the historic South
Capitol street, circle
around the building and
walk down the cascading
stairs towards the water
and the café on the lower
level adjacent to the wa-
ter. Visitors themselves
circumnavigate the build-
ing as they discover the
journey, similar to a cam-
era going around specific
and important objects in
movies.
Second (Promenade) Level
0’ 10’ 20’ 40’

81 82
Wall Section Third Level
0’ 10’ 20’ 40’
0’ 5’ 10’ 20’

84
Forth Floor Fifth Floor
0’ 10’ 20’ 40’

0’ 10’ 20’ 40’

85 86
South Elevation Looking Towards The Capitol 0’ 15’ 30’ 60’

87 88
East Elevation From The Water- Looking Towards The Museum 0’ 10’ 20’ 40’

90
Longitudinal Section Through Museum. 0’ 15’ 30’ 60’ Cross Section Through Film School, Theatre Lobby and Museum. 0’ 15’ 30’ 60’

91 92
Longitudinal Section Through Promenade, Elevation of the Museum in the Background. 0’ 10’ 20’ 40’

94
Longitudinal Section through Film Academy. Beams above the glass ceiling cast a shadow through the linear stair space 0’ 10’ 20’ 40’

95 96
Longitudinal Section Through Theatre. Elevation of the school in the background. 0’ 10’ 20’ 40’

97 98
 For the final presenta-
tion, I separated the pin-
up room into two parts;
the behind the scenes of
the production and design
process, versus the per-
formance area with the fi-
nal drawings. The color
green is associated with
the green room and red
with the performance in
the theater, I separated
the walls where the green
wall was covered by all
the studies, sketches,
site analysis and study
models, and the red walls
presented the final ren-
derings and plans of the
design.

To Be Continued ...
99 100
 To My Committee Members- Paul, Thank you for truly To my Incredible Night
giving me one of the biggest lessons at WAAC, that Crower and Studio Part-
everyone loves story, and no architecture fails at ners, Michael, Tara,
engaging people into the building once it uses Sto- Elyana,Lama, Alex Al-
rytelling . Susan- For challenging and pushing me to vrez, Aniran, Yasaman,
get the best out of me. Marcia- For encouraging me Mahkam,Arash, Nasim, John
to let out all of my ideas and never let go a single Mark, Mallory, David,
of them. Markus, for teaching me about the strong Daniela, Marta and Nacha.
voice of an architect, and to keep reminding me to
keep my voice strong throughout my thesis design To all my teachers and
progress. mentors for putting me on
the right path through-
To My Mom Mojon, for her incredible love that’s be- out these years. Nazanin
yond measure- Thanks for bringing light and hap- Saadi, for encouraging
piness into the family, I owe you my life. To my me to take steps firmly.
siblings, who I shared a lifetime memories with- Luis Bozo for seeing my
Mahsun, thanks for showing me what perfection is. potentials. Dr. Tillman,
Pouria, thanks being behind the screen of every suc- for your endless advice
cessful story that I hold. and guidelines, Chris Lee
Sepideh- Thanks for not just being my twin but also for helping me build my
being my best friend and always pushing me shatter first building in Ohio,
my boundaries and reach higher. and Douglass Palladino
for having me make the U
To Tavo, for believing in me, even when I lost hopes turn at the point which
in myself. Every action of yours shaped me into the I had almost quite archi-
person I am today. Thanks for flying me up high, ev- tecture.
ery time my wings were broken.
And lastly, to My Grand-
To My Amazing Friends- who supported me endlessly mother Mami Joon- for
on completing my thesis, Azar, Thanks for showing teaching me how to dream
me what passion is, and how to express it. Elena, big and that there is not
thanks for your absolute kindness and your positiv- a single thing I couldn’t
ity. accomplish through hard
work.

A C K N O W L E D G E M E N T S 102
B I B L I O G R A P H Y I M A G E C R E D I T S

Donald Spoto, Spellbound by Beauty: Alfred Hitch- Page 4: Figure 1. Five things to do today: watch Verti-
cock and His Leading Ladie, Print. go (1958). Image. http://www.thenational.ae/lifestyle/
five-things-to-do-today-watch-vertigo-1958-during-
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Architecture and Film. Verso NYC. 2002. tel. June2013

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red.com/learn/red-101/video-aspect-ratios. Aug 2013

M O V I E S

The Birds, Alfred Hitchcock, 1963. Reproduced images are fair use for educational
Drive, Nicolas Winding Refn, 2011. purposes only. All other images by author.
3,2,1, Saharnaz Javaheri, 2007.
Avatar, James Cameron, 2009.
House of Cards, David Fincher, 2013.

C I T A T I O N 104