As a seasoned cinephile with decades of movie-watching under my belt, I must say that Brady Corbet and Lol Crawley have truly outdone themselves with “The Brutalist.” The decision to shoot on VistaVision film, a format seldom seen in modern cinema, adds an undeniable cinematic grandeur that harkens back to the golden age of Hollywood.
From the very beginning, there was no debate about the shooting format for “The Brutalist”. As stated by cinematographer Lol Crawley, “We’ve consistently chosen to shoot on film”.
The film titled “The Brutalist” narrates the life story of László Tóth, a Hungarian Jewish architect, portrayed by Adrien Brody. After surviving the Holocaust, he relocates to the United States and encounters a prosperous industrialist who significantly alters his destiny, offering him a slice of the American dream.
Brady and Crawley delved into the art of photographing architecture, investigating how it had been previously captured. During an interview with EbMaster’s Inside the Frame, Crawley explained, “When capturing any architectural structure, it’s essential to keep distortion from lenses to a minimum. This can be achieved by using rectilinear lenses to avoid the characteristic distortion that occurs when shooting with a wide-angle lens.
The unique concept prompted Brady to select the seldom-employed VistaVision film, a high-definition stock developed by Paramount Pictures during the 1950s for enhanced visual clarity.
Crawley clarifies that unlike the vertical movement in traditional movie cameras, this method involves pulling the film horizontally across eight perforations simultaneously. This results in a larger film format, which implies that using wide-angle lenses for a broader field of view isn’t necessary in this case.
The same layout was utilized by Alfred Hitchcock during the filming of “To Catch a Thief” and “Vertigo”. As Crawley points out, this approach was a means to entice viewers away from television and back into movie theaters, as it represented a form of cinematic competition.
Given that the story unfolds post-World War II up until the 1980s, it appeared logical to opt for this particular timeline.
In the movie, László Toth encounters Harrison Van Buren, portrayed by Guy Pearce, who assigns him the job of constructing an impressive public institution. During a pivotal moment in the storyline, László escorts Harrison to Italy and a quarry, where they choose the marble for the project.
The Carrara Marble Mine in Tuscany, being an active mine, presented its own unique difficulties. Essentially, it was risky to film there due to the mining operations, but we were fortunate to do so. However, to minimize our impact, we couldn’t set up large equipment like generators on site.
Rather than add to or even remove the light, Crawley utilized the available natural light.
Among Crawley’s cherished film moments, this particular sequence stands out as particularly significant. He explains, “It’s a crucial turning point in the movie. Although I won’t reveal too many details, it portrays an extreme display of one character’s actions towards another. Consequently, from a narrative perspective, it holds great importance as a key pivotal moment.
He adds the scene illustrates the benefits of using a handheld camera but highlights “VistaVision beautifully.” Crawley adds, ”If there was ever a charge that VistaVision was in some way an affectation or didn’t earn its place within the movie, I think these scenes prove otherwise.”
The extended movie lasting over three hours has been showcased in the large-format 70mm. Andrew Oran, senior vice president of feature sales and marketing at FotoKem, collaborated with Crawley to produce these prints. Each print contains approximately four miles of film and a staggering weight of 259 pounds. According to Crawley, “Andrew was exceptional and prepared the prints for us.
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2024-12-20 23:17