The Tree of Life

[Vincent Sweeney]

Since the other thread on here was about the trailer, I thought a new one was appropriate. Also since the film releases soon and Im sure there will be a lot of cinematography awards/nominations a thread might benefit from a fresh start.

 

This is an interview with Lubezski that everyone will likely be interested in. It proves my own guesses about them shooting IMAX and R65mm. Some fascinating comments in this from one of the best alive.

 

http://motion.kodak.com/US/en/motion/Publications/In_Camera/Web_Exclusives/index.htm

[Ravi Kiran]

Will there be any IMAX screenings?

[Vincent Sweeney]

I can't find any info on that yet. There is suppose to be an IMAX only sister film to this called Voyage of Time but there isnt much out there about that either. Hopefully Fox will announce something very soon. This/these film(s) will be a cinema benchmark.

[Adrian Sierkowski]

I don't see why it wouldn't be in IMAX, it seems that most of the bigger films these days are IMAX releases (inception comes to mind), and I'm sure it'll be in LieMAX. By the bye, anyone recall if The New World ever saw an IMAX screen? I know parts were 65mm, but I don't recall it being shown in IMAX.

[Vincent Sweeney]

No, The New World didn't make it to IMAX screens. Tree of Life won't either, I'd suspect. It's a huge undertaking for them to market and prep a film for IMAX screenings and this film isn't overly commercial like the (often) junk that makes it in there, which of course is made for the masses outside of the actual IMAX-made films.

 

It's really unfortunate, I'd pay $50 for that ticket. Tree will be the end-of-the-line in cinema quality.

[M Joel W]

Reportedly about half the movie was shot on red and now Malick and Lubezki are using the red exclusively. Funny that kodak would publish an article about the image quality of 65mm film only to have the filmmakers in question turn around and abandon it for an inexpensive digital alternative.

[Adrian Sierkowski]

I have heard that it was being used, but as stated before, I'll bet it's just for EFX shots and/or for situations in the "modern" world with Penn. I wouldn't jump to any conclusions until I see an article on the film in AC or hear it from Chivo.

As for Kodak, the fact the film choose 65mm and Kodak stocks is still a reason to brag, despite the fact that some of the film was shot on RED.

It'd be like Kodak not making a big deal out of Black Swan using 16mm because they chose to shoot 7D (or 5D i forget) for shots where that system made sense.

We're making movies here, we gotta go with what works for the situation. I can drive a nail with a screwdriver, but a hammer would be much easier.

[Vincent Sweeney]

Reportedly about half the movie was shot on red and now Malick and Lubezki are using the red exclusively. Funny that kodak would publish an article about the image quality of 65mm film only to have the filmmakers in question turn around and abandon it for an inexpensive digital alternative.

 

Not true at all. The RED crap and the need for fans to feel better about something that doesn't quite hold up to 35mm is really out of control these days. Do your research before posting.

[Vincent Sweeney]

Lubezki interview. Read this from ICG: http://www.icgmagazine.com/wordpress/2011/05/11/sights-unseen/

[Ignacio Aguilar]

"The New World" only features one or two scenes shot on 65mm film stock, even on the extended cut. Sadly, there was no noticeable increase in picture quality on the big screen due to the reduction to 35mm print stock (I believe they had to use a 2K DI for these shots).

 

I wonder how much 65mm footage will make it to the final cut of "The Tree of Life" and how they will integrate it, since this is a 1.85:1 picture (Jacques Tati shot "Playtime" in 5-perf 65mm framed for 1.85:1 instead of 2.21:1).

[Jason Reimer]

The first of the reviews are coming in, and it's pretty much as one would expect, lots of division:

 

http://www.huffingtonpost.com/2011/05/16/the-tree-of-life-reviews-terrence-malick_n_862312.html

 

Sounds like this one is going to be pretty overtly theological and philosophical. I appreciate the fact that Malick is unapologetic about wanting to think about the big questions, and do so on a big screen. Anything to push back on the notion that books, movies and music are supposed to be valuable or "good" only inasmuch as they are entertaining, rather than allowing some room for poetic and cerebral approaches as an option, too.

[Vincent Sweeney]

In 1969, "2001" got plenty of bad reviews too, one popular "critic" even saying it was "amateur filmmaking". How must they feel these days for saying that?

[Justin Hayward]

It was booed at Cannes, but the reviews look good…

 

http://www.rottentomatoes.com/m/the_tree_of_life_2011/

 

I guess it’s going to divide then conquer.

[Vincent Sweeney]

People report what sells. It was also cheered and applauded, according to several articles.

 

Make a film for the market and it will sort of please most people. Make a film without regard to the ignorant masses and some will absolutely love it, often because it didn't compromise.

 

I prefer to spend my money and time on finding/enjoying the gems.

[Justin Hayward]

I hear what you’re scream’n and I certainly agree.

[Joseph Arch]

According to IMDB - Red One Camera (some shots)

 

 

I really don't know how red fans can say it was shot on red.

[Vincent Sweeney]

Again, read the ICG article I posted (any DP or director should).

 

And IMDB is updated by "whomever"; an often inaccurate source to say the least.

 

 

This one is worth a read too, although it isn't as cinematography related. From Roger Ebert.

 

http://blogs.suntimes.com/ebert/2011/05/a_prayer_beneath_the_tree_of_l.html

[Joseph Arch]

I read the article Vincent. I don't see any red in there. So why are people proclaiming it was shot on red?

[Vincent Sweeney]

I think anyone professionally involved in film, or wants to be, bothers to find real answers on their own. The rest fade away soon enough.

 

Great article wasn't it? I envy what the crew got to do on this project, and they even got paid for it! What a memory and learning experience.

[Mitch Gross]

The vast, vast majority of the movie was shot on 35mm film. There are a handful of shots on RED and a handful on Phantom. Don't know if anything else made it into the mix. Based on screen time, it is likely 99% film. Based on original material captured, it is probably 99.9999999% film.

[Vincent Sweeney]

Report: Terrence Malick’s “The Tree of Life” took the Palme d’Or Sunday night in Cannes, though the notoriously shy director did not take to the stage to accept the prize.

 

Congrats to all the crew as well!!!!

[Ravi Kiran]

Anyone know if this will be screened in 4K anywhere?

[David Mullen ASC]

I saw it projected in Theater 1 at the Landmark in the Westside Pavilion -- it was digitally projected and I believe they have a 4K Sony projector, but I doubt that they were running a 4K DCP, it was likely a 2K DCP. Looked great. I'd say that 95% of the movie was shot on 35mm, but that's just a guess. A few nature shots, the background plates for the dinosaurs in the redwoods and river, etc. look like it might have been M-X Red One footage but a lot of the Sean Penn stuff that I first thought might have been shot on the Red One (before I saw the movie) looks just like all the Brad Pitt stuff shot on 35mm.

[Vincent Sweeney]

I saw it projected in Theater 1 at the Landmark in the Westside Pavilion -- it was digitally projected and I believe they have a 4K Sony projector, but I doubt that they were running a 4K DCP, it was likely a 2K DCP....

 

Oddly enough I saw it there last week (my 2nd viewing) but it was on 35mm. Do they normally keep a DCP and a film copy of movies to fit different theaters within their building? That seems odd. The Arclight had a slightly better projection/theater experience but I am finding so many faults in 35mm projectors these days that I am going out of my way to look for theaters that can play DCP's instead, especially when it's a high-end film like this. The Muvico's 4K theaters are almost perfect but all they get is the typical multiplex "studio stuff".

[Jason Reimer]

Vincent and David, I'm curious what you guys thought of the story and how it was told? I think I need to see it again once or twice before I make a final judgement. My initial reaction was that I just didn't like it as much as The New World or The Thin Red Line. I liked what he was trying to do and where he was going, but I left feeling slightly unsatisfied, and I'm still trying to articulate why.