Estreia da Semana: WONDERSTRUCK

WONDERSTRUCK, de Todd Haynes, rodado em película de 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219 e Eastman Double-X 5222).

«For character-driven stories, I still prefer to shoot on film. Frame-by-frame there is more life and depth to the image, than in one that is pixel-fixed on the single plane of a digital sensor. To my eyes there is something anthropomorphic to film — living and interacting between the frames — which supported our human-interest storytelling.», Ed Lachman, director de fotografia.

[Imagem: Amazon Studios e Roadside Attractions, publicado em American Cinematographer].
[Fonte: Kodak].

Nunca se Escreveu Tanto Sobre a Película — Parte 4

Nos últimos meses, a atenção mediática, em torno de formatos analógicos na Sétima Arte, discursou sobre os profissionais que continuam a eleger a película como principal suporte de trabalho, os méritos e peculiaridades das projecções em 70mm (com PHANTOM THREAD em destaque), novas perspectivas sobre restauro de Cinema Mudo e o elogio aos projeccionistas de película.

"IndieWire spoke to the 10 cinematographers about the visual impact of shooting on Kodak film."
Bill Desowitz, in 10 Cinematography Masters Who Love Celluloid, from 'Dunkirk' to 'Wonder Woman', IndieWire.

"For now, 70mm is easing its way back into the mainstream, but thanks to the dedication of organizations life TIFF, hopefully the resurrection of the medium is pushed a little further into the light."
Andrew Parker, in TIFF showcases the rarity and resurgence of 70mm film, The Gate.

"I think there's a real renaissance to what film is. It’s another tool that we have that we shouldn’t give up. It's another paintbrush. Why should we be limited to one tool?"
Ed Lachman, citado por Carolyn Giardina, in From 'Dunkirk' to 'The Post,' Some Key Oscar Contenders Relied on Film, The Hollywood Reporter.

"Shot in 35mm, it was Anderson’s original intention to shoot the film so that he got a particularly fine grain image that he could easily blow up to 70mm."
Chris O'Falt, in Why the ‘Phantom Thread’ 70mm Screenings Are a Unique Experiment That Could Look Significantly Different, IndieWire.

"We really wanted to close the loop with silent film preservation and restoration(...) We were, in a sense, giving back, and giving these films back to the world."
Mick LaSalle, in Silent Film Fest expands into preservation, San Francisco Chronicle.

"La disparition des projectionnistes n’a pas fait de bruit. Silencieux et discrets, jusqu’au bout."
Valère Gogniat, in La mort silencieuse des projectionnistes, Le Temps.

Hollywood vs. 35mm — 4ª parte

Ainda sobre SIDE BY SIDE, análise documental produzida por Keanu Reeves sobre a "guerra" entre película e digital no cinema contemporâneo, continuam a surgir pequenos depoimentos de intervenientes do filme:

James Cameron: «24 frames a second isn't real. That's still pictures being displayed. And we're aware of it, we know it's not real, we know that when we're watching a movie it's not real.»



Ed Lachman, director de fotografia: «The point-of-view of the camera is the storytelling of the camera. So, just because you can shoot more footage doesn't make the film a stronger film.»



Greta Gerwig, realizadora: «It's faked, we didn't shoot it on 35mm black and white, but we'll be able to create the effect of it. Which I kind of feel uncomfortable with, but also kind of 'It looks great!'.»



Jost Vacano, director de fotografia: «Why do people shoot with digital cameras? It's an ego thing.»



P.S.: recordem a primeira e segunda partes do debate.

[Fonte: Canal YouTube do Tribeca Film Festival.]