Alexandros Angelopoulos Apostolos Posted March 29, 2016 Author Share Posted March 29, 2016 I really can’t thank you enough, Satsuki, for putting up with me. You’ve explained it beautifully, as you always do. I freaked out when I saw that camera when I first saw it. I couldn’t believe I haven’t seen anything like it before. Later, more and more it seemed like some sort of a modified Canon EOS. There are two more videos of pretty much the same: https://www.youtube.com/watch?v=yZfRMkj5U1w Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted March 29, 2016 Author Share Posted March 29, 2016 (edited) Storaro is known for being elegant dresser, I still remember the behind the scenes of Apocalypse Now and how well dressed he was in the middle of the jungle :) he got Italian class. The first anecdote I read about him was that quote from Francis Ford Coppola about how Vittorio is the only man Francis knows who could fall off a ladder into mud and not get dirty. Edited March 29, 2016 by Alexandros Angelopoulos Apostolos Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted March 30, 2016 Premium Member Share Posted March 30, 2016 Sure, no prob. Happy to help. 1 Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted April 18, 2016 Author Share Posted April 18, 2016 (edited) Another interview with Vittorio Storaro! Screencaps! http://www.woodyallenpages.com/2016/04/cafe-society-new-images-from-vittorio-storaro-interview/ http://blog.screenweek.it/2016/04/cafe-society-vittorio-storaro-concepito-quattro-aspetti-diversi-nuove-immagini-508809.php I’d love to hear som impressions! Edited April 18, 2016 by Alexandros Angelopoulos Apostolos Link to comment Share on other sites More sharing options...
Manu Delpech Posted April 21, 2016 Share Posted April 21, 2016 Trailer, looks good, very clean though. 1 Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted April 21, 2016 Author Share Posted April 21, 2016 Oh, my God! The trailer! Yay! :lol: B) It looks great! B) So much better than what those screencaps made me think it would look! Thank you, Manu! Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted April 21, 2016 Premium Member Share Posted April 21, 2016 Looks really great! I love all the hard light he uses in the background, very interesting shapes and colors. I'm assuming the film will be cut much slower than the trailer, as per usual with Allen's other films. Will be great to let the eye linger and roam through all the detail in the frames. 1 Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted April 21, 2016 Author Share Posted April 21, 2016 That light in Steve Carell character’s office sure is harsh! I understand that Storaro wanted to evoke the Californian Sun. I keep thinking why he chose to use white light for the Bronx family apartment. I guess such apartments in those days were lit with that kind of light, and not with incandescent light bulbs. Then there are those baffling jarred white lights in that night club. The powerful light pointing right at the camera in that library or whatever it is? It was also a bit jarring to see that softened frame introducing Vonnie. Suddenly you go from supersharpness into that softness. California is a bit to monochrome for me. A little bit too much “sepia” (“sepia” nowadays means a lot of different things to different people so thus the quotation marks). Just look at those characters at that pool party when the Oscar-winning screenwriter speaks – their costumes are almost identical and match the surroundings. Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted April 21, 2016 Premium Member Share Posted April 21, 2016 The powerful light is probably coming from a movie projector screening some print that the people in the house are watching. 1 Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted April 21, 2016 Premium Member Share Posted April 21, 2016 Storaro is almost certainly using white light versus colored light for a story purpose, behind which he has constructed a philosophical structure to the use of different colors for the film. Until he explains it to us, we can only guess what the meanings of certain colors are intended to be. My guess is that 'white' light represents balance, the home, where things are safe, stable, and boring. The beginning and end of the journey. Hence New York where the character begins (and, I'm assuming, ends) his travels. The other colors Storaro frequently assigns meanings to: red, orange, yellow, green, blue, indigo, violet. You can make your best guesses on what those might be. I'm not going to attempt that though! I would wait to see the film in its entirety before making further judgments. The lighting and color scheme probably had to be seen in context to make sense. Storaro is a bit unique in this way, he is less focused on making individual pretty pictures than he is on telling a story with light and color, which is why he prefers the term 'writer of light' rather than 'painter of light' for what he does. 1 Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted April 21, 2016 Author Share Posted April 21, 2016 David, yeah, I spoke too soon: only after I’ve posted that I saw that it was a film projection they are attending. I was to focussed the first time on the projector light. It was pretty much the only thing I saw the first time I watched the trailer. You’ve been awfully quiet; I presume you want to see the whole film before you speak? Satsuki, you’re on the right path: have you read the huge feature in Film and Digital Times about the film I posted above? Here’s the direct link: http://www.filmanddigitaltimes.com/wp-content/uploads/2016/04/75FDTimes-Storaro-PassageToDigital.pdf In it, he says that there are four parts to the story: among them, one is lunar Bronx and another the sunny Hollywood. The third one is when the main character comes back to New York from Hollywood to work with his brother in the night club – it is the combination of the previous two I listed, Storaro says. Thus the clash between white and yellow light. Link to comment Share on other sites More sharing options...
Premium Member Mark Kenfield Posted April 22, 2016 Premium Member Share Posted April 22, 2016 I don't know how I feel about the look of that trailer. I think I find the combination of the deeper depth of field Storaro has used, when combined with the insane detail (and 'cleanliness') of the F65, a bit distractingly 'digital' for my tastes. 2 Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted April 22, 2016 Author Share Posted April 22, 2016 It will be shown at the Seattle Film Festival on 19th May 2016: http://www.woodyallenpages.com/2016/04/cafe-society-to-open-seattle-film-festival-in-may/ That will be its U.S. premiere. Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted May 5, 2016 Author Share Posted May 5, 2016 Just a quick pop up from me to let you know about The Hollywood Reporter interview: http://www.hollywoodreporter.com/features/woody-allen-interview-he-wont-889678 Nothing cinematographically relevant, except perhaps the photo of Vittorio and Woody together. I wonder what that light is behind them. Woody is also doing the rounds in French newspapers: http://www.woodyallenpages.com/2016/05/new-woody-allen-kristen-stewart-french-interviews-for-cafe-society/ Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted May 9, 2016 Author Share Posted May 9, 2016 Extracts: Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted May 11, 2016 Author Share Posted May 11, 2016 Premieres tonight at Cannes. I believe I read 7.30 PM local time. Pictures from the press conference: http://www.theguardian.com/film/gallery/2016/may/11/cannes-2016-woody-allen-kristen-stewart-blake-lively-in-pictures Vittorio Storaro has spoken to Le Monde, but the interview is behind the paywall. The article is 2 euros: http://www.lemonde.fr/festival-de-cannes/article/2016/05/11/vittorio-storaro-je-crois-aux-affinites-electives_4917228_766360.html There are tons of coverage around. And the first reviews are up. Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted May 11, 2016 Author Share Posted May 11, 2016 The premiere is actually at 8 PM. Link to comment Share on other sites More sharing options...
Manu Delpech Posted May 11, 2016 Share Posted May 11, 2016 Seeing this tomorrow. 1 Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted May 11, 2016 Author Share Posted May 11, 2016 Waiting for your impressions. :) Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted May 12, 2016 Author Share Posted May 12, 2016 (edited) Press conference, among other things, which Storaro attended, too: http://www.woodyallenpages.com/2016/05/cafe-society-videos-from-cannes-interviews-press-conference-photocall/ Edited May 12, 2016 by Alexandros Angelopoulos Apostolos Link to comment Share on other sites More sharing options...
Freya Black Posted May 12, 2016 Share Posted May 12, 2016 You’ve been awfully quiet; I presume you want to see the whole film before you speak? I think people are very happy to talk about the great work of Vittorio but less happy in the context of Woody Allen. 1 Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted May 12, 2016 Premium Member Share Posted May 12, 2016 I'll be more than happy to talk about a movie that I've seen, but this one isn't even in release yet. 1 Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted May 12, 2016 Author Share Posted May 12, 2016 I think people are very happy to talk about the great work of Vittorio but less happy in the context of Woody Allen. It’s funny that you should say this because I was just reading that thread where someone asked about screenwriting. And just as this message board isn’t dedicated to that literary endeavour, neither are all these threads I started about Woody Allen, but rather about the cinematographical aspect of his work. So I was just wondering if David, like Mark Kenfield above and Satsuki before Mark, had any quick impressions of the cinematography from the trailer. What about you, Freya? Any thoughts? :) Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted May 12, 2016 Author Share Posted May 12, 2016 I'll be more than happy to talk about a movie that I've seen, but this one isn't even in release yet. It is in France. And it will be shown in Seattle on 19 May 2016, as the non-competing part of the Seattle International Film Festival. Two dates are mentioned for the U.S.: 15 July and 29 July. Everywhere I looked, the praise for what Storaro did here is quite high. There are at least three iconic shots mentioned, one in a motel lit only by candles (someone compared it to Barry Lyndon) and a dawn scene, if I remember that correctly, in Central Park. I can’t remember what the third one was. Link to comment Share on other sites More sharing options...
Freya Black Posted May 12, 2016 Share Posted May 12, 2016 What about you, Freya? Any thoughts? :) I think Storaro is one of the worlds greatest living cinematographers. I really like what he has to say about the subject too and his very different outlook and way of talking about cinematography. I think he has interesting things to say about the subject that make you think as opposed to people who waffle a lot trying to sound clever. I'm interested to see what he does next. 1 Link to comment Share on other sites More sharing options...
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