Will we ever return to a day when every ing movie isn't filmed with those stupid "Matrix" like washed out colors? My God, it annoys the out of me.
washed out colors also kind of piss me off tbh, Lost in Translation is an example. would've been head-and-shoulder above "pearl" and "bobby long" to me had it been filmed in a brighter color. i mean when you watch that movie, it's like the day is always cloudy and the sun never rises.
the best-looking Scarlett Johansson imho is the one you see under bright sunshine (because she's Apollo's daughter maybe) but you can't see such a scene at all in Lost in Translation.
Like a boss tbh.Lance Acord, the film's director of photography, has written that the cinematographic style of Lost in Translation is largely based on "daily experiences, memories and impressions" of his time in Japan.[28] He worked closely with Coppola to visualize the film, relying on multiple experiences he shared with her in Tokyo before production took place. Location scouting was carried out by Coppola, Acord, and Katz; and Coppola created 40 pages of photographs for the crew so that they would understand her visual intentions.[29] Acord sought to maximize available light during shooting and use artificial lights as little as possible. He described this approach as conservative compared to "the more conventional Hollywood system", for which some of the crew's Japanese electricians thought he was "out of his mind".[30] In particular, Acord did not use any artificial lights to photograph the film's night-time exteriors.[30] Lost in Translation was largely shot in an improvised, "free-form" manner, which Coppola described as "stealthy" and "almost do entary-style".[31][17] The crew shot in some locations without permits, including Tokyo's subways and Shibuya Crossing; they avoided police by keeping a minimal crew.[16] Acord avoided grandiose camera movements in favor of still shots to avoid taking away from the loneliness of the characters.[30] Most of the film was shot on an Aaton camera with 35 mm film stock, using Kodak Vision 500T 5263 stock for nightlight exteriors and Kodak Vision 320T 5277 stock in daylight. A smaller Moviecam Compact was used in confined locations. Coppola said that her father, Francis Ford Coppola, tried to convince her to shoot on video, but she ultimately decided on film, describing its “fragmented, dislocated, melancholic, romantic feeling", in contrast with video, which is "more immediate, in the present".[26] In interviews, she said she wanted to shoot Tokyo with a spontaneous "informality", similar to the "way a snapshot looks", and she chose to shoot on high-speed film stocks to evoke a "homemade intimacy".[16][26][32] Some scenes were shot wholly for mood and were captured without sound.[32]
I may want to see this movie again....in HD this time thanks to Netflix.
There are currently 1 users browsing this thread. (0 members and 1 guests)
Posting Permissions
Reply With Quote
