Boone Hudgins

James Hawkinson likes to use old Panavision anamorphic lenses in a lot of videos. They tend to contain a lot of flare.

I believe I remember him saying something about buying straight from Kodak. He said he could've gotten a student film discount if he bought the film all at once, but he didn't know if he would be able to finish the movie, so he bought more whenever he ran out. The audio isn't great because he recorded all the dialog after each take. The camera he used was an old, broken, Arri S so he couldn't record any sound during the take. I think he recorded it onto a Radio Shack tape recorder. If the version you saw was in English, then of course the dubbing was bad. The movie's in Spanish. I know that most of the movie channels show an English dubbed version.

Spielberg isn't a writer. He's an assembler. Both movies he's gotten a screenplay credit for, Close Encounters of the Third Kind and AI, his job as a writer was picking the best parts of the countless screenplay drafts, ending up creating the movie he wanted to make. I believe his credit from Close Encounters came because when the WGA came knocking, none of the other writers wanted credit. It's something he does a lot. Saving Private Ryan had a lot of uncredited help from Frank Darabont. It's something that happens a lot. Directors want revisions, they may bring in new writers, they may rewrite some of it themselves. Sometimes it's all uncredited. WGA arbitration stuff, usually. It's all a part of the directors finessing a film into their particular vision. Sometimes it's a little here and there, sometimes it's a lot. Sometimes it's for the better, sometimes it's for the worse. I like Spielberg as a director. I like fine dining, but sometimes Burger King is good, too.

The release the video versions in color in some countries. The Man Who Wasn't There was contractually obligated to have a color negative.

Apparently, Blade Runner was a big influence for the look of the movie.

One movie I didn't care for shot by Douglas Slocombe was The Great Gatsby. I like the look of nets, but it seemed a little much. Especially on Mia Farrow's closeups. Of course, the cinematography was most likely hampered by Francis Ford Coppola's pounded-out script and Jack Clayton's paint-by-numbers visual symbolism.

Hasn't Spielberg only settled on one DP in the past ten years or so? He used to go through quite a few of them.

Nothing wrong with a Toyota, by the way. They last forever.

It seems really, really rash to blame a cinematographer for the inflated budgets on some films. How many 60 million dollar movies are there with a star earning 20 million? 100+ crew members making, collectively, slightly more than one actor. It's arguable that there is plenty of waste in the film industry, but you're probably not going to find it below the line. Traditionally, freelance workers tend to get paid more for doing a given job. It evens things out because they're not consistently employed. Besides, anybody who works a 10 or more hour day without sitting down is entitled to some cash. That's painful work.

They tend to look purple to me after they get old.

November.

There are movies on IMDb that were done locally, on video, for OSU's programming on the public access channel. I think a lot of you guys deserve to have your credits on there, too. Seems fair. The IMDb database managers are just there to check for obvious BS. There's a story about a kid that told IMDb that his teenage friend played IG88 on The Empire Strikes Back. They put him on the cast list, and next thing you know, his name is in Star Wars magazines as the person operating IG88. The database managers are trying to stop stuff like that from happening. Emphasis on trying, I suppose.

Would a flare be affected by the glass in the viewfinder? In a sense that the flare would look different in the viewfinder than it would on film.

I believe he's used Zeiss lenses before, but didn't like the flare they made at low stops.

And Brazil and Batman. I'm a fan of Pratt. Not so much of Harry Potter, though.

I saw the movie tonight. It was all right. The look was interesting. I thought it was cool how all the characters looked pretty ruddy at the beginning. Especially Liam Neeson. Of course, that changed by the time they got to Israel. The score wasn't all that bad. It was similar to any movie set in the sand, though. I wonder when they'll think of something different that still fits as well, though. I do wish that there was more establishing of the different locations, though. Gladiator did that really well, and it kind of seemed like Kingdom of Heaven suffered from sequelitis even though it's not even remotely close to Gladiator. "Oh, they already saw Rome, why do they need to see Jerusalem?" Orlando Bloom wasn't very good, either. He kind of got lost in the movie. Most of the time you felt kind of like he was just a spectator of everything, he wasn't ever involved. But by the end, he becomes a rebel rouser that everybody just follows. I'm not sure if this part was just written weirdly, or if they cut Bloom down because he just wasn't working out. It's weird to just leave your main character in a different city for ten minutes doing nothing. Edward Norton's performance was amazing, though, even though you couldn't see his face. He should have had more to do in the movie. I'm not sure how much I like the "when it's blue, it's blue" look that's in about every movie now. It just seems too much. I'm becoming a fan of the 1/4 CTB look. It's subtle, but it's there (of course this all looked like natural light, so gels don't really make sense, but you catch my drift). The scene where Bloom catches up to Liam Neeson with the shafts of light coming through the trees looked great, though. It's such a cliche thing, but it just looked different somehow.

If I remember what I've read correctly, the green in The Matrix was added in timing.

Did they go with Arricam so they could use the Angeniuex lens, you think?

I haven't seen that movie in a long time, but I remember not understanding why everybody hated it. It wasn't bad. I've heard that Michael Crichton reshot a little bit of it too. Kind of made it disjointed, not the most cohesive movie ever. But, I've never heard a bad Jerry Goldsmith score, so it makes sense that it would be among the best things in the movie. I'm not sure how I feel about using score from other movies, though. That's always been a strange idea to me. I guess it's better than having James Horner copy it, but slower... Was most of Kingdom of Heaven shot with a zoom? On all the promotional videos it looks like the camera has an Angenieux Optimo on it all the time.

I was hoping that the score would be good when Hans Zimmer left.

AMC letterboxes their commercials, by matting black bars over a pan & scan movies. It drives me nuts.

Yes, yes, of course. I'd just read about that a while back and thought I'd throw it in the pot. It's definitely not something I'd try right out of the gate.

I was thinking more in the realm of, would making an IP on print stock create a similar look to shooting on print stock? But way more controllable? Of course, there's always just a red filter.

Barry Sonnenfeld had some interesting things to say about his work in the industry. It really made him sick. There was an interview on, I think it was The Directors, where he said it made him impotent for six months.

Isn't there a technique of making an interpositive on high contrast print film and then an internegative that's supposed to look like cross processing? How would this look on black and white film? Would it be anywhere near what Freya is looking for?