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By Ray Pride Pride@moviecitynews.com

Chris Nolan Goes Photochemical In DGA Quarterly Interview

Alongside Gendy Alimurung‘s  LA WEEKLY cover story, “Movie Studios Are Forcing Hollywood to Abandon 35mm Film. But the Consequences of Going Digital Are Vast, and Troubling,” the DGA Quarterly cover-stories an extensive interview with Christopher Nolan on matters digital and photochemical. “For the last 10 years, I’ve felt increasing pressure to stop shooting film and start shooting video, but I’ve never understood why. It’s cheaper to work on film, it’s far better looking, it’s the technology that’s been known and understood for a hundred years, and it’s extremely reliable. I think, truthfully, it boils down to the economic interest of manufacturers and [a production] industry that makes more money through change rather than through maintaining the status quo. We save a lot of money shooting on film and projecting film and not doing digital intermediates. In fact, I’ve never done a digital intermediate. Photochemically, you can time film with a good timer in three or four passes, which takes about twelve to fourteen hours as opposed to seven or eight weeks in a DI suite. That’s the way everyone was doing it ten years ago, and I’ve just carried on making films in the way that works best and waiting until there’s a good reason to change. But I haven’t seen that reason yet. I’ve kept my mouth shut about this for a long time and it’s fine that everyone has a choice, but for me the choice is in real danger of disappearing. So right before Christmas I brought some filmmakers together and showed them the prologue for The Dark Knight Rises that we shot on IMAX film, then cut from the original negative and printed. I wanted to give them a chance to see the potential, because I think IMAX is the best film format that was ever invented. It’s the gold standard and what any other technology has to match up to, but none have, in my opinion. The message I wanted to put out there was that no one is taking anyone’s digital cameras away. But if we want film to continue as an option, and someone is working on a big studio movie with the resources and the power to insist [on] film, they should say so. I felt as if I didn’t say anything, and then we started to lose that option, it would be a shame. When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one.” [Much more at the link.]

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“We now have a situation where audiences very often prefer commercial trash to Bergman’s Persona or Bresson’s L’Argent. Professionals find themselves shrugging, and predicting that serious, significant works will have no success with the general public. What is the explanation? Decline of taste or impoverishment of repertoire? Neither and both. It is simply that cinema now exists, and is evolving, under new conditions. That total, enthralling impression which once overwhelmed the audiences of the 1930s was explained by the universal delight of those who were witnessing and rejoicing over the birth of a new art form, which furthermore had recently acquired sound. By the very fact of its existence this new art, which displayed a new kind of wholeness, a new kind of image, and revealed hitherto unexplored areas of reality, could not but astound its audiences and turn them into passionate enthusiasts.

Less than twenty years now separate us from the twenty-first century. In the course of its existence, through its peaks and troughs, cinema has travelled a long and tortuous path. The relationship that has grown up between artistic films and the commercial cinema is not an easy one, and the gulf between the two becomes wider every day. Nonetheless, films are being made all the time that are undoubtedly landmarks in the history of cinema. Audiences have become more discerning in their attitude to films. Cinema as such long ago ceased to amaze them as a new and original phenomenon; and at the same time it is expected to answer a far wider range of individual needs. Audiences have developed their likes and dislikes. That means that the filmmaker in turn has an audience that is constant, his own circle. Divergence of taste on the part of audiences can be extreme, and this is in no way regrettable or alarming; the fact that people have their own aesthetic criteria indicates a growth of self-awareness.

Directors are going deeper into the areas which concern them. There are faithful audiences and favorite directors, so that there is no question of thinking in terms of unqualified success with the public—that is, if one is talking about cinema not as commercial entertainment but as art. Indeed, mass popularity suggests what is known as mass culture, and not art.”
~ Andrei Tarkovsky, “Sculpting In Time”

“People seem to be watching [fewer] movies, which I think is a mistake on people’s parts, and they seem to be making more of them, which I think is okay. Some of these movies are very good. When you look at the quality of Sundance movies right now, they are a lot better than they were when I was a kid. I do think that there have been improvements artistically, but it’s tough. We’ve got a system that’s built for less movies in terms of how many curatorial standard-bearers we have in the states. It’s time for us to expand our ideas of where we find our great films in America, but that said, it’s a real hustle. I’m so happy that Factory 25 exists. If it didn’t exist, there would be so many movies that wouldn’t ever get distributed because Matt Grady is the only person who has seen the commercial potential in them. He’s preserving a very special moment in independent film history that the commercial system is not going to be preserving. He’s figuring out how to make enough money on it to save these films and get them onto people’s shelves.”
~ Homemakers‘ Colin Healey On Indie Distribution