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Upcoming Movies The Trilogy (Part III)


JTello
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47 minutes ago, Angry the Clown said:

Good grief. Did we really need more trailers for that film? Given the main one from last year felt quite revealing I'm going to sit out watching those two. UK release is only a month away now as it is. 

 

Ironically I think I only ever watched the original one years ago and haven't even thought about the movie since. So both of these were a nice treat for me but yeah, I totally get where you're coming from if you've been following the film closely.

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Not a trailer but Vanity Fair has a nice article on Del Toro’s new movie with Cate Blanchett and Bradley Cooper - Nightmare Alley. His take on a classic noir movie.

 

 

Quote


There are still monsters in this film, out December 17, but these are all human beings: glamorous, elegant, and more alluring than off-putting. Maybe that makes them even more dangerous. Bradley Cooper stars as Stanton Carlisle, a former carnival worker who becomes a big-city star as a nightclub performer, using cold-reading tricks he picked up in the sideshow to create the impression he is a powerful mind reader. Now the marks and rubes he targets are millionaires. Cate Blanchett plays Dr. Lilith Ritter, a psychiatrist who first tries to expose him as a charlatan, then becomes embroiled in his schemes.


Anything Del Toro is insta-watch for me.

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Is Apple deliberately trying to build a digital camera aesthetic? Seeing it in that b&W teaser seems to be yet another example. It's an overly clean, too smooth, almost unprocessed look to things. It often makes for a jarring separation between foreground and background -especially if the effect is greater in one plane than another.

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2 hours ago, Camp said:

Is Apple deliberately trying to build a digital camera aesthetic? Seeing it in that b&W teaser seems to be yet another example. It's an overly clean, too smooth, almost unprocessed look to things. It often makes for a jarring separation between foreground and background -especially if the effect is greater in one plane than another.

 

Funny. I remarked to Iain privately yesterday just how much I loved the pristine digital B&W aesthetic in this instance. I've no reason to suspect that such a creative decision was dictated from on high by Apple however. It would be purely down to Coen and Bruno Delbonnel in this case, just as it was Sofia Coppola and her cinematographer's choice to shoot On the Rocks (another A24/Apple co production) on 35mm.

 

I haven't found anywhere to check but I suspect they shot Macbeth on an Alexa XT given the aspect ratio, and possibly even the little used model with a B&W sensor. The sharpness would probably suggest Zeiss or maybe even Leica glass. There doesn't seem to be any pro-mist filter diffusion there or anything. They just embraced digital for what it is and I kind of love that. I think it looks incredibly striking and manages to feel cinematic, theatrical and ethereal all at the same time.  

 

Lots of companies do have a certain technical standard that they require cameras to adhere to in order for them to be considered suitable for use on their productions (the BBC has pretty much always been that way, Netflix is similar), but I've never known it go so far as to encroach upon creative choices. A lot of Netflix stuff seems to be embrace a 2:1 aspect ratio, but again I can't imagine that's a choice being forced upon the creative talent they hire (I think we're just living in a time where 16:9 is the dominant display format and Vittorio Storarro is having the last laugh having predicted 2:1 as a happy compromise decades ago). 

 

I think Marvel are one of the few corporate entities where one could make a reasonable argument that the wings of the creatives hired are being clipped at an executive level in order to meet a very fixed visual style, aesthetic and palette. It's why, in hindsight, the very idea of an Edgar Wright Ant-Man movie was probably always too good to be true.

 

Circling back to On The Rocks briefly, that's getting a Blu-ray release in the coming months via way of Lionsgate which perhaps suggests all of the A24/Apple partnerships will be eligible for physical release at some stage. Here's hoping someone might grant The Tragedy of Macbeth a 4K disc in future. 

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Talk of Zeiss lenses for it fits with why I’m getting A Field In England vibes. That was shot on the RED Epic with Zeiss lenses, and again doesn’t feel the need to apply artificial film grain. That also looked great, I thought, and the “digital” look for a period piece didn’t bother me the way Lubezki’s robotic pans did in The Revenant. 

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