You know, there are SO many films lately getting their film shot in 3D or get converted to 3D and most of them are either terrible or something left to be desired that it's nice to see a director still using old-school like tactics when it comes to the cinematography.
Nolan gave an interview to the Director's Guild of America and apparently Warner Bros. really wanted the film shot in 3D. But "talk to the hand" said Christopher Nolan. Well, in the most polite way.
Nolan sees no reason to change to digital film just yet.
Source: Cinema Blend
Nolan gave an interview to the Director's Guild of America and apparently Warner Bros. really wanted the film shot in 3D. But "talk to the hand" said Christopher Nolan. Well, in the most polite way.
“I said to the guys there that I wanted it to be stylistically consistent with the first two films and we were really going to push the IMAX thing to create a very high-quality image. I find stereoscopic imaging too small scale and intimate in its effect. 3-D is a misnomer. Films are 3-D."It's nice to see that he wanted to, at least, keep up the same style and feel of he first two and not try something completely different.
“ It's funny, you were asking about 3-D and one of the things that happened when the craze came back was various aspects of conversion.The way I shoot film is actually very conducive to converting to 3-D because I'm always thinking of the camera as a participant. Stylistically, something that runs through my films is the shot that walks into a room behind a character, because to me, that takes me inside the way that the character enters. I think those point-of-view issues are very important."
Nolan sees no reason to change to digital film just yet.
"For the last 10 years, I've felt increasing pressure to stop shooting film and start shooting video, but I've never understood why. It's cheaper to work on film, it's far better looking, it’s the technology that's been known and understood for a hundred years, and it's extremely reliable. I think, truthfully, it boils down to the economic interest of manufacturers and [a production] industry that makes more money through change rather than through maintaining the status quo. We save a lot of money shooting on film and projecting film and not doing digital intermediates. In fact, I've never done a digital intermediate. Photochemically, you can time film with a good timer in three or four passes, which takes about 12 to 14 hours as opposed to seven or eight weeks in a DI suite."In other words, do what you know best. If it isn't broke, don't fix it.
Source: Cinema Blend