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David Poland

By David Poland poland@moviecitynews.com

DP/30: War Horse, Team Kaminski, Kahn, Carter, Burwell

3 Responses to “DP/30: War Horse, Team Kaminski, Kahn, Carter, Burwell”

  1. Edward Wilson says:

    Initially, when I saw ‘Carter’ and ‘Burwell’ I put them together as Carter Burwell. But that wouldn’t have made sense, since this is Spielberg not the Coens.

  2. Hallick says:

    “Initially, when I saw ‘Carter’ and ‘Burwell’ I put them together as Carter Burwell. But that wouldn’t have made sense, since this is Spielberg not the Coens.”

    I wondered the same thing and at first I thought, well, it must be a last name-comma-first name trick, but that didn’t make sense either.

    On a side note, some of the worst movie music of 2011 was inexplicably Carter Burwell’s score for Breaking Dawn Pt. I. I literally believed it had to be some feminine hygiene commercial composing hack also named Carter Burwell in one of those Paul Anderson/Paul Thomas Anderson/Paul W.S. Anderson situations. I’m not quite ready to stop believing this either.

  3. The Pope says:

    A pleasure as always, thank you David.

    Why the dissolve around 32 mins? The lights faded.

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato