The Director Of Photography Is Now The Director.

After a 12-year professional association with renowned director Christopher Nolan, Academy Award winning cinematographer Wally Pfister is preparing to make his directorial debut.  To no surprise the project is being shrouded in secrecy, another trait of his friend Christopher Nolan. 

Usually I do not get overly excited about a cinematographer or editor taking the helm of a film, for Janusz Kaminski and Stuart Baird respectively have only been mediocre in their directing ventures.  Kaminski, a superb cinematographer and former college mate of Pfister’s has directed two very sub-par films despite having been the great Steven Spielberg’s cinematographer.  Mr. Pfister is a staunch film critic and scrutinizer of bad films.  Pfister will be very selective of the scripts that cross his and his talents agent’s desks.  The filmmaking techniques expected from Mr. Pfister will most likely not deviate much from Christopher Nolan’s methodology.  This means shooting on film vice digital, and accomplishing as many in-camera effects as possible. 

Earlier this week at mastersofcinema.net, editor Rohan Mohmand reported on Megan Ellison, a studio executive/film producer with AnnaPurna Pictures, is setting out to make as many heavily plotted films that major studios are afraid to finance as possible.  Ms. Ellison already has a few ambitious projects lined-up.  Perhaps one of Wally Pfister’s future projects will be under a contract with AnnaPurna Pictures. 

Also, for some reason imdb.com and imdbpro.com are both reporting that Wally Pfister is set to photograph the planned 2015 Batman reboot, that will have a new director, yet Nolan still attached as a producer or executive producer.  I am doubtful of the authenticity of this, but Pfister’s helming of a Panavision or IMAX camera lens is always welcome.

On a final note, below is a commercial that Pfister has directed, and a video that gives insight into his incredible eye and ability to capture some of the best cinematic images ever put on screen. 

SH**. JUST. GOT. REAL.

   

On September 6^th, Cinematic Impact released a list of our most 10 most anticipated films of 2012.   The list included Sam Mendes’ and Quentin Tarantino’s Skyfall and Django Unchained respectively.  But the two films that topped the list are surefire to be audience pleasers and on the top 10 list of major film critics.   The Dark Knight Rises and Prometheus could potentially make 2012 as memorable of an entertainment year as 1939 or 1974. 

The Dark Knight Rises

The best place to follow Batman news (or any Chris Nolan news) is www.nolanfans.com.  Back in February 2011 Nolanfans posted a radio interview of Nolan’s cinematographer Wally Pfister with The Kevin and Josh Movie Show.  During the interview the host as Wally Pfister how is Nolan going to top The Dark Knight.  Pfister responded by saying that “he has…he has done it.  He has written a phenomenal story… and we (the entire production crew) are all scratching our heads on how we are going to film it”.  The 2^nd HD trailer was released today on Apple ITunes.   If possible download the trailer with ITunes or another medium and then HDMI your computer to a HDTV.  The result is stunning, and one can truly appreciate the in-camera effects that Nolan, Chris Corbould, and Wally Pfister have accomplished.  The Batwing looks a bit odd, but moviegoers will greatly appreciate that the fictional aircraft was meticulously constructed just like the tumblers. Consider the scene in the trailer where the Batwing is pursuing Bane’s team of assassins whom have commandeered tumblers that are camouflaged like the vehicle from Batman Begins.  The scene looks seamless without any distracting CGI.  When Nolan is forced to use CGI, it is equally as impressive as his practical effects.  The imploding football field at Heinz stadium looked good but not mind blowing in standard definition.  But in 1080p on a 50 inch Sony Bravia, the detailing looks photorealistic.  The viewer can see that the $250 million dollar budget was used to the max. 

The action is what sells the trailer but the dialogue is also exceptional.  People have criticized the teaser trailer for hammy dialogue, this time the character interaction is anything but hammy.  Anne Hathaway and Michael Caine have well written dialogue with Christian Bale’s Bruce Wayne, and give further insight into a man that is still coping with his very existence.  Now that Gotham has Harvey Dent as a martyr, Wayne’s existence as Batman is becoming self-indulgent but necessary to prevent the decay of a city.  Tom Hardy’s Bane has a menacing yet reserved and intelligent demeanor. Hardy will be excellent, yet I suspect that even if Bane is the better villain, Heath Ledger’s performance will still be more revered. 

Prometheus

The last time Ridley Scott filmed a science fiction story was in 1982 for Blade Runner.  Thirty years later the spiritual companion to his 1979 classic Alien will be released into theaters.  The very idea of mankind meeting their creators is already an intriguing concept, but add the space-jockey from Alien into the mix and you have a potential sci-fi classic on your hands.  Today a trailer for the upcoming trailer of Prometheus was released.  Ever single frame of footage was filled with intrigue, mystery, and/or excitement.  The set design is eerily similar to the 1979 film, but has the benefit of having superior materials and a larger yet undisclosed budget.  The crew of Charlize Theron, Idris Elba, Michael Fassbender, Noomi Rapace, and Guy Pearce all seem to be in top form.  The gritty and claustrophobic set will be as much of a challenge for the actors/actresses and moviegoers to endure. 

20^th Century Fox wants to view a PG-13 and R cut of the film.  Here’s to hoping (and I stress hoping) that they go with the latter rating.  Although PG-13 will guarantee more revenue; the R version will be extremely profitable without compromising the gut-wrenching atmosphere.  

Greek Mythology says that Prometheus stole fire from the gods to share with the mortals.  In this story it may be that humankind steals forbidden knowledge from the gigantic Space Jockeys.  The motion capture technology from Avatar is supposedly to be employed to depict these giant humanoids.  Prometheus will undoubtedly be the most original concept of the summer, despite being a possible prequel. 

Update on Tuesday, December 20, 2011 at 7:25PM by Travlis Hallingquest

NOLAN IS BOSS. 

Batman-news.com and many other entertanment websites have published articles that voiced the concern of Bane's voice in the TDKR Prologue.  Allegedly Warner Bros. is concerned over this issue, and rightfully so.  But considering how understandable Bane's voice was in the Official 2nd trailer, this should not be an issue.  Nolan is too smart to have an issue such as this take away from this film.  Perhaps the mask muffling Bane's voice along with engine noise from two airplanes (one that has lost cabin pressure) justifies why there is an audio issue.  Nolan has given WB Inception and a totally beleivable Batman series, and the studio thinks so highly of the director that he is given full creative control of projects that range from $150 to $250 million dollars in production costs.  Warner Bros.' should not worry about their most reliable director and producer. 

Good job Paramount and Warner Bros.

Cinematic Impact usually steers away from routine reporting on film and television news that is being featured on most prominent film sites.  We primarily focus on analyzing the production, casting, funding, scripting, and studio influence on upcoming and already released projects.   However the following news is too good not to say a few words about:  The Dark Knight Rises “Prologue” may be attached to IMAX prints of Mission: Impossible- Ghost Protocol. 

Brad Bird (the director of Ratatouille, The Incredibles, and The Iron Giant) is directing his first feature live action film.  25 minutes of Ghost Protocol was shot on 70mm IMAX film, and features daring stunt work by Tom Cruise from the world’s tallest building in Dubai.  The aforementioned details are enough to make most moviegoers want to see Bird’s take on secret agent Ethan Hunt.  However drop in 6 minutes of footage from Christopher Nolan’s upcoming end to the Batman Trilogy, and now you have a glimpse of what could be one of the most groundbreaking films ever.                        

http://www.nolanfans.com/2011/02/01/wally-pfister-speaks-about-the-dark-knight-rises/

The above link is from our friends at nolanfans.com.  It is a link to cinematographer Wally Pfister’s interview with The Kevin and Josh Movie Show.  Pfister was on record saying that “the opening scene will blow your mind…and we are all scratching our heads on how we are going to film it”.  Those that have been watching the videos of leaked footage from the Pittsburg and Los Angeles sets may have an idea of what Mr. Pfister is talking about.  I will not comment on any of this due to spoilers and I would rather probe official Warner Bros released trailers and prologue footage.   For amateur video recordings captured on consumer grade video cams and IPhones does not bring justice to what Christopher Nolan and his team are truly up to.  Just keep in mind that Nolan and crew use around 55% less CGI than most other film crews.

Too bad that the IMAX theaters here in Japan only show documentaries, hopefully Paramount Pictures and Warner Brothers will work out a deal to attach The Dark Knight Rises “Prologue” to conventional projectors.  I would love to be able to comment upon a film that could potentially top the 2008 The Dark Knight.  There are doubters out there who have scrutinized the leaked footage.  All I can say is that with special effects genius Chris Corbould (Inception, The Dark Knight, Casino Royale) supervising production/post-production and a script so secret that Nolan has committed the ending only to mental memory, is enough for me to trust a director that has yet to make a sub-par film.

Update on Tuesday, October 25, 2011 at 6:02AM by Travlis Hallingquest

AMC Theaters have confirmed that a 6 minute Prologue to the highly anticipated The Dark Knight Rises is indeed attached to Brad Bird's Mission: Impossible- Ghost Protocol.  As of now, the Prologue will only be available in real IMAX, not IMAX digital. 

The Golden Boys of Warner Brothers.

Four Directors/Producers That Have Kept And Will Keep The Studio Founded By Jack Warner And His Brothers On The Right Track.

Nolanfans.com published an article about a potential director for a re-imagining of the renowned Emmy and Golden Globe Award winning series The Twilight Zone.  Although the writers that are currently penning the project do not mesmerize me, the list of directors that are wanted by Warner Bros is a prestigious group of some of the most talented directors to look through a camera lens.   Well not so much with Michael Bay, who is amongst Christopher Nolan, David Yates, Alfonso Cuaron, and Rupert Wyatt being considered to direct.   In regards to Nolan, Yates, and Cuaron they have certainly rewarded Warner Bros with high grossing and critically acclaimed films.  And the 80-year-old Clint Eastwood has certainly not been too shabby with his six decades in Hollywood. 

CLINT EASTWOOD

The rough around the edges yet handsome Hollywood icon is truly a living legend.  With humble beginnings on the short-lived 1950s television series and a bit part in the 1955 B-Movie Tarantula, Clint Eastwood has acted in and directed some of the most thought provoking and quotable films to ever be released in cinemas.  Sure the Dirty Harry films were not exactly thought provoking, but who can forget lines such as “Go ahead make my day” or “Do you feel lucky?” With the latter quote being the last words a sadistic murderer hears before having a softball sized exit wound in his back.  Eastwood is best known to the average moviegoer as Detective Harry Callahan and The Man With No Name, but it is behind the camera where he truly shines.  Eastwood’s mentor and friend the late Don Siegel is a major influence, but Eastwood’s vision has far surpassed the man that was responsible for the first and best Dirty Harry movie.  Eastwood’s accolades speak for itself:  4 Academy Awards for Directing/Producing, AFI Lifetime Achievement Award, Director’ Guild Lifetime Achievement Award, 3 Golden Globes, and The Cecil B. DeMille Award.  Although Mr. Eastwood has been under contract with Universal Pictures in the past, he has a very intimate relationship with Warner Bros.  All of the previously mentioned accolades were of Warner Bros. funded and distributed films.  Eastwood has stated in the October 2011 issue of GQ that the executives of movie studios need to crack open their film vaults and archives to get inspiration from classic films.  Not for the sake of remaking a film, but to draw from past ideologies that have not been explored on screen for quite some decades.  Letters From Iwo Jima, Million Dollar Baby, Unforgiven, and Mystic River are considered masterpieces or near masterpieces by many critics and moviegoers.  I am somewhat going out on faith by saying this, but the upcoming J. Edgar starring Leonardo DiCaprio has the potential to be Eastwood’s best film.  It is certainly fitting that Warner Bros. is helming a project about a man who assured the studio only portrayed the FBI in a patriotic light to the public through crime movies and the 1950s television series The F.B.I. 

CHRISTOPHER NOLAN

The University College of London graduate made his first film Following at his alma mater on a $6,000 budget and with the help of friends on the weekends.  The movie gave the world a brief but solid introduction to Christopher Nolan’s non-linear and psychological based storytelling.  Memento is a movie that Cinematic Impact is personally writing the National Film Registry to promote its preservation.  Ironically, Memento was initially turned down by major studios due to its complexity.  The executives knew that the script was brilliant but feared it would not attract a large audience.  Although it was not a blockbuster, the movie that had a $4 million dollar budget grossed $48 million at the box office.   With further critical and financial success with Insomnia, Warner Bros. gave Nolan the helm to the Batman franchise.  The Batman franchise was in a laughable and dire state after Joel Smuckmaker, uh I mean Joel Schumacher ruined the series with his two horrible entries.  Utilizing in-camera effects, real locations and traditional stunt work over CGI, Batman Begins once again solidified Batman as a serious detective and superhero.   The film was better than Burton’s 1989 film, and prepared the world for the greatest comic book based film ever:  The Dark Knight.   With the success of all the previously mentioned films, Warner Bros green lighted his long shelved script Inception.  I am sure that even the studio was surprised with the success of their young director’s latest endeavor.  Inception grossed $823 million worldwide and received four academy awards.  Many people were skeptical of Inception’s financial success, for some thought the studio was simply doing him a favor for what he did with the Batman series.   For who could forget the $1 billion dollars that The Dark Knight grossed?  Now Nolan will close out his vision to Batman with The Dark Knight Rises.  I am anxious to see what a genius can do with a $250 million dollar budget with very minimal use of CGI.  I am ecstatic that Nolan and his cinematographer Wally Pfister shoot on film and distain 3D.  No one needs to be distracted from dim-lit images and headaches induced by 3D.   Nolan has his own bungalow (as does the legendary Eastwood) within Warner Bros’ Burbank, California studio lot.  The man who may next bring us an adaptation of Michael Drosnin’s Citizen Hughes or a 21^st century vision of Rod Serling’s The Twilight Zone needs to be accommodated as much as possible.   

ALFONSO CUARON’ AND DAVID YATES

As expected I have to devote much of my writing to what these two individuals have done for the Harry Potter series.   David Yates spearheaded the final four Harry Potter films and with each film the quality of direction and overall production improved.  I am unfamiliar with Yates’ non-Potter work, but there is no reason that Warner Bros. should worry that the brilliant Brit will not deliver on the upcoming reimagining of Stephen King’s 1978 post-apocalyptic novel The Stand. 

Alfonso Cuaron’ is probably most famous to American audiences for the 2006 film Children of Men.  The film featured his trademark long-takes without cuts, which was instrumental in keeping the audience’s eyes glued to the screen for the long action packed escape sequence towards the end of the film.  The same technique was implemented in the third (and my personal favorite) Harry Potter film The Prisoner of Azkaban.  Next Cuaron’ will direct a science fiction film entitled Gravity for Warner Bros.  The film will be shot digitally (which I dislike) but obviously Mr. Cuaron’ is simply using what he thinks is the best tool for the job. 

TM & © 2011 Warner Bros. Entertainment Inc. All rights reserved.

Update on Saturday, October 15, 2011 at 7:51PM by Travlis Hallingquest

Matt Reeves, the director of Cloverfield and Let Me In is taking the helm of the re-imagining of The Twilight Zone.  A good choice by Warner Brothers but I can't help but wonder if Rod Serling's series really needs a 21st Century adaptation.  

GOT FILM?

One weekend onboard the USS ANZIO my friend Eddie and myself had just finished our five-hour security watch.  Afterwards we went to our shop and watched the action/horror exploitation double feature Grindhouse. After viewing Death Proof and Planet Terror we began discussing the two film’s cinematography.  Robert Rodriguez used 35mm film in the past on projects such as Desperado and From Dusk Till Dawn. However he utilized 35mm digital on Planet Terror.  And since George Lucas mainstreamed digital cinematography with Attack of the Clones more filmmakers are running to digital format.  But why not use what has been used since the three second long 1888 Roundhay Garden Scene?  There have been mammoth leaps in digital cinematography in recent years.  Slumdog Millionaire and Avatar won the Academy Award for cinematography in 2008 and 2009 respectively.  And David Fincher has showcased respectable digitally captured images in The Curious Case of Benjamin Button. Even considering all of the positive previously stated truths, the fact remains that digital formats will always try to mimic film.

 Before I go further in to this discussion, I would like to voice my admiration of digital projectors.  Commemorating the 10^th Anniversary of Memento, director Christopher Nolan approved the 10^th Anniversary Blu-Ray and digital print of the 2000 neo-noir film. Stating the obvious, digital projection alleviates viewing experiences being hindered by film reels being jammed and the annoying appearance of the infamous cigarette burn.  Yet the grains, textures, and latitudes of film cinematography are maintained in digital projection.  However the aforementioned physiognomies of film are not present (although some what admirably imitated) in the digital capturing of movies and television.

Director of Photography Wally Pfister attempted to include high-speed shots in Inception that were captured by the Phantom HD camera.  The scene where Leonardo DiCaprio’s character is being dunked into a tub of water to snap out of the induced dream was simultaneously shot on the Arriflex 435 Extreme film camera and the Phantom HD.  Portions of the film were also post converted to 3D and Christopher Nolan has acknowledged the conversion was much better than expected.  But nonetheless he was not impressed enough to release a 3D version of the movie.  Below is Wally Pfister discussing the superior advantages of shooting on film.

Steven Spielberg is utilizing digital motion capture cameras for The Adventures of Tintin: The Secret of the Unicorn.  Spielberg believes that this is the only way to bring Georges Remi’s (aka Herge`) comic series to life.  However he has stated that all of his other films will still be shot traditionally.  I have seen poor quality traditionally shot films, but it certainly seems as though there are much more poorly shot digital films.  I personally loved Michael Mann’s Public Enemies, but as my friend Daniel Pardi stated: “It looks like The Blair Witch Project with guns.  Another friend of mine said that it was as if though they were watching a homemade movie and all of a sudden Christian Bale and Johnny Depp walked across the screen.

 Cinematographer Roger Deakins shot the upcoming 2011 film In Time in the digital format.  Although it was the director’s decision to shoot on this format, I believe that the 10 Academy Award nominations with no wins was a factor for Deakins to be so optimistic about abandoning film. I am very biased (obviously) about this discussion.  But I am not so obtuse that I do not recognize that filmmakers simply use what they feel are the best tools for the job.  But I can’t imagine that Sam Mendes will want Deakins to digitally capture James Bond’s next outing in the still untitled Bond 23. 

 I would never disregard a film whether it is independent or studio produced because it is not recorded to a film stock.  But two facts remain even if all of what I am arguing is perceived as pretentious or boulder-dash:

1.  The human eye sees motion naturally in analog not digital.

2.  Digital formats will always try to mimic film and not vice versa. 

 
© Copyright 2011. Panavision Inc. All Rights Reserved.

Update on Thursday, September 29, 2011 at 3:18AM by Travlis Hallingquest

In an interview earlier this year, cinematographer Wally Pfister spoke of the disadvantages of 3D cinema and the advantages of IMAX film cameras.  3D images are not only dimmer but also cause headaches for the audience.  Acclaimed animator and writer Brad Bird is looking for the best image quality possible with his first feature live action movie Mission Impossible: Ghost Protocol.   It is confirmed from the two time Academy Award winner that 25 minutes of Ghost Protocol will be shot on 70mm IMAX film.  This is less than The Dark Knight and the upcoming The Dark Knight Rises (which is rumored to have 1/2 of the film in 70mm), however key IMAX scenes will involve Tom Cruise scaling the world's tallest building in Dubai. 

Brad Bird's efforts to open his version of the next Ethan Hunt adventure earlier than the official release date has only given him five sneak preview days. However, the five days will be dedicated to placing the movie on premium IMAX screens.  Those individuals will most likely (judging by Bird's current track record) leave theaters positively discussing a film that was viewed in the best possible manner.