Honalee, Thom Neal (DOP) & Alexis Cook (Director)
High production values have always been a feature of Swinburne Film & Television at Swinburne University in Melbourne, Australia. And despite an array of high-end digital cameras at their disposal, 2013 saw many of our graduate students embrace 35mm motion picture film for the first time.
Working closely with local film production services, Swinburne produced five short films on 35mm. Melbourne based Lemac Film & Video supplied an Aaton Penelope 35mm camera, with its unique 2 perf film saving capability, while Complete Post handled film scanning and grading. Film processing was handled by FotoKem in Los Angeles.
Gordon Willis, ASC. Photo by Douglas Kirkland
Here are Gordon Willis' thoughts on filmmaking from his 1994 Kodak OnFilm ad. This ad predates the time when we published the extended transcript from the interview. His words still resonate 20 years later.
"There aren't any unbendable rules in filmmaking. It's an organic process. In the first Godfather, you saw only Brando's eyes selectively, because we didn't want the audience to know what was going on inside his head all the time. Visual subtext is interesting, because you're making an audience think in a certain way. The trick is to take something that's quite sophisticated and reduce it to the simplest possible terms... The use of relativity on the screen is wonderful: light and dark, big and small, good and evil. What you see and what you don't...magic in a frame."
The 67th edition of the Cannes International Film Festival opened this week and runs through May 25. Kodak has a long history and presence at the Cannes Festival, a tradition which continues with a number of films shot on Kodak making up this year’s program, including the below.
- Grace of Monaco opened this year’s festival. Directed by Oliver Dahan and photographed by Eric Gautier, AFC, the film stars Nicole Kidman as Grace Kelly. The story follows the former Hollywood star’s crisis of marriage and identity during a political dispute between Monaco's Prince Rainier III and France's Charles De Gaulle, and a looming French invasion of Monaco.
- Saint Laurent chronicles 10 years of the life of designer Yves Saint Laurent, beginning at age 30. It sheds light on his genius and on his darker side. Co-produced by EuropaCorp and Mandarin Cinéma, the film reunites cinematographer Josée Deshaies and writer-director Bertrand Bonello.
- Director Michel Hazanavicius’ The Search was photographed by Guillaume Schiffman, AFC. The two previously collaborated on The Artist. The Search stars Berenice Bejo and Annette Bening and centers around the bond between an NGO worker and a young boy in war-torn Chechnya. The film is a remake of Fred Zinnemann’s Oscar®-winning 1948 film of the same title.
- Jimmy’s Hall is the story of Jimmy Gralton who built a dance hall in 1921 on a rural crossroads in Ireland where young people could come to learn, to argue, to dream, but above all to dance and have fun. The movie is directed by Ken Loach and photographed by Robbie Ryan, BSC, ISC.
- Lost River is the directorial debut of Ryan Gosling. The film was photographed by Benoît Debie on 2 perf, 35mm. The film follows a single mother who is swept into a dark underworld and her teenage son who discovers a road that leads him to a secret underwater town.
Some additional titles shot on Kodak screening at Cannes include Alice Rohrwacher’s Le Meraviglie, Xavier Dolan’s Mommy, and Asia Argento’s Incompresa, among others.
Director WALLY PFISTER on the set of Alcon Entertainment's sci-fi thriller “TRANSCENDENCE,” a Warner Bros. Pictures release. Photo by Peter Mountain.
Oscar®-winning cinematographer Wally Pfister is making his directorial debut with Transcendence. The film follows Dr. Will Caster (Johnny Depp), the foremost researcher in the field of Artificial Intelligence, who is working to create a sentient machine that combines the collective intelligence of everything ever known with the full range of human emotions. Anti-technology extremists attempt to destroy Will but instead become the catalyst for him to succeed, and be a participant in his own transcendence.
“Imagine your brain suddenly being able to connect to the Internet, to have access to every bit of information there—financial, medical, political…” remarks Pfister. “What would you do with that kind of knowledge, that kind of ultimate power? Would you use it for the greater good, or your own gain, or something else entirely? This film gives moviegoers a chance to see the possibilities and wonder if it’s a choice they’ll ever have to face.”
Russell Crowe stars as Noah (Photo: by Niko Tavernise Courtesy of Paramount Pictures)
The Biblical story of Noah and the Ark is brought to the big screen by director Darren Aronofsky and cinematographer Matthew Libatique, ASC. The filmmaking duo previously collaborated on Pi, Requiem for a Dream, The Fountain and Black Swan.
Russell Crowe stars as Noah, the man chosen by God to undertake a momentous mission of rescue before an apocalyptic flood destroys the world. Shot on location in Iceland and New York, as well as a few other locales, Libatique shares his approach to capturing Aronofsky’s creative vision in this month’s American Cinematographer. The two chose KODAK VISION3 500T Color Negative Film 5219, 250D 5207, and KODAK VISION2 100T 5212.