The Devil's Rejects

[Landon D. Parks]

Sorry for the double post, but it wont let me edit my other one:

 

PS) I didnt think it was sick either, at least sick in the "Blood and guts" way, but it was a SICK movie in general....

[Matt Pacini]

Texas Chainsaw Massacre was shot on 16mm reversal, so if he were trying to emulate that look, it would make sense to shoot on 16mm.

 

You can't really look at just the budget and guess. Leaving Las Vegas was probably a bigger budget than this was, and yet that was shot on Super 16.

 

MP

[Nate Downes]

I really want to shoot a feature in Super8, which using modern stocks would emulate the look of 70's 16mm rather well I've found.

[Louis]

Since no one else has mentioned it, I guess I better: AC online has an online-only article on the look of "The Devil's Rejects" at this address:

 

http://www.theasc.com/magazine/aug05/devils/index.html

 

A quote:

 

"As Parmet recalls, ?Lions Gate said to Rob and me, you have a choice, shoot this in Super 35[mm] or 16. If you shoot it in Super 35, you have to do an optical internegative; if you shoot it in Super 16, you can do a DI (digital intermediate).

...

 

"Parmet set about testing a variety of 16mm stocks, ultimately settling on Kodak Vision2 500T 7218 for interiors and Vision2 100T 7212 for exteriors."

 

I guess that settles that.

[CoreyAndrews]

did lion's gate pay for the film though? I almost wondered if Rob contributed some of his own money into it. Personally I enjoyed both flicks, in a world of new aged horror thrillers that look too slick and have no scare to them, these are great. I hate new horror movies and any hardcore horror movie fans I know feel the same way. Why do we all love movies like the evil dead, romero's dead series, etc etc, because they looked real, they weren't all done up with fancy effects, god i hate these new stylistic horror movies. Anyways, just my opinion.

[timHealy]

"Super 16 is a gamble, while it may fit some films, people associate it with "Amatures" and the studios know this, so they may not be willing to allow the project to shoot in super 16."

 

I don't think you have this right. There is noting amateuristic in the format itself. Perhaps the people using it are the amateurs. Super 16 is a viable alternative to 35 depending on the project, content and budget. The vision 2 stocks from Kodak are terrific in terms grain and quality. There are plenty of films and TV shows that make a creative choice to use 16 over 35 an illustrated in the article. I saw Hustle and Flow a few weeks ago and if I am not mistaken, it was done in 16mm and was a terrific movie. A director I work with wants to shoot a 16mm movie after doing a 35 film because of the unobtrusive nature of 16 compared to 35.

 

Also I think there are a number of films that have done well enough in recent years that have been shot in DV and blown up to 35, to prove what really matters is a compelling story. Not "this is going to be a great film simply because it was shot in 35". We have all seen our share of crappy and great movies in all formats.

 

Bset

 

Tim

[timHealy]

"The same co-worker insists that Spike Lee's shot all of his movies on a Sony VX-1000."

 

I believe Lee experimented with some video on Girl 6 and he did do one movie I know of with a few Sony PAL handycam cameras. If I am not mistaken, it was Bamboozled, but correct me if that is wrong. But for the most part the rest of his films have been shot on film including his current one Inside Man. I should add though Inside Man is about a bank heist and utilizes a few small video cameras for security camera type shots, but the majority of it is 35mm.

 

Best

 

Tim