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Miguel Roman

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  1. Thank you for your comments Dermot! Could I ask you what was your role in Badlands? Did you use to work often with Probyn or Larner?
  2. Thanks for the comments; it is interesting what has been said about experienced actors being sensitive to light and lenses, which makes me think that it should be the same for experienced directors, I mean even if they have not studied lighting, composition, etc, they should have some knowledge after having worked for some time in the industry. But going back to my initial inquire, It comes to mind some early work of Francis Ford Coppola, at least in films like Apocalypse now, where Storaro seems to have a big influence in the cinematography (like in most of the films he has shot, I think)
  3. Yeah, right? At the very least I think that is obvious during some of his early work and the strong style of Gordon Willis's
  4. Thanks Gregory! I noticed you collaborated with him in some of his films; do you know if David O. Russell have no knowledge on the photographic aspect, interest or neither of them?
  5. Hello everyone, I find interesting the work of some filmmakers like Paul Thomas Anderson who seem to be quite knowledgeable about photography in general, but I was wondering if any of you can recall any film directors who are (or were) mostly interested in the content of their work and not so much in the form, letting the cinematographer take full control on the look of the film. Thanks!
  6. You are welcome Robin, I will definitely check that podcast that you mention!
  7. @Robin R Probyn Hello Robin, I found an interview of your father and I thought you might be interested in reading it; it was published on 1975, in the magazine Cinema Papers. I am posting the link to the entire magazine, the interview appears in the pages 73, 74 and 75. https://issuu.com/libuow/docs/cinemapaper1975marno000/79
  8. Hello! I would like to know more about Kodak's Dye Layering Technology, which is something I read in one of the Technical Data sheets from Kodak Vision3 500T 5219: The proprietary, advanced Dye Layering Technology (DLT) provides noticeably reduced grain in shadows, allowing you to pull out an amazing amount of shadow detail. Could anyone explain a little more about about how does this layering technology work? Why does this DLT allow the film to perform better in the shadows? I have not been able to find info on this... Thanks!
  9. The other interview, which can be found in the same book of Maher's, it's an interview conducted by Michel Ciment for the magazine Positif in 1975, but there is no direct reference to your father on that one.
  10. This last sentence about the soft technique comes from a transcript of a master class “A Master Class with Terrence Malick” at the AFI, in 1976. It can be found in a book called All Things Shinning: An oral history of the films of Terrence Malick (Paul Maher Jr., 2017). I only have the physical book, so I can not link it; but besides that sentence there is only a few references to your father: He is an excellent cameraman. I mean, he is a sort of pioneer in soft 'light technique, and I had always admired his work. IT was difficult. I mean, he is 55 years old or so, and I was just a kid. And I didn't know what I was doing. this was on-the-job training. But I should right there have taken things in hand, and I didn't, and then the same thing sort of happened with the second person. We sort of mutually got fed up with each other. And the third person, who used to be an instructor here, was my instructor in cinematography. […] QUESTION: Why did Brian Probyn leave the production? Malick: Well, it sort of - he got quite exhausted and developed a bad case of ulcers at the same time that we weren't getting along. It was quite hot where we were shooting. It was what used to be the dust bowl. QUESTION: How much of the film had Probyn shot before he left? Malick: About a third. Each of them [Probyn, Fujimoto and Larner] shot about a third. Almost exactly. It just worked out that way. […] (…) if you get somebody with a documentary background like Steve Larner he didn't need anybody...the people he had, they were mainly to hold things that he stuck in their hands so they could be high school students. But that couldn't have happened with Brian Probyn, for instance, who was used to woking in a different way. His interiors look better, I'm sure, for their preparation than Larner's would given the way he had to work.
  11. About the choice of your father as cinematographer, Malick says “He is an excellent cameraman. I mean, he is a sort of pioneer in soft 'light technique, and I had always admired his work.” So I guess that combined with the documentary background would make him quite an ideal candidate for an independent shooting like Badlands. Please let us know if your brother can find the slides!
  12. It does look like the tree's own shade...but when I look at the sky on the background I can see a difference in the contrast of the top of the image and the middle of the frame, as well as the right grey post at the edge of the frame...
  13. That's quite interesting! About the over exposing in Badlands, in one of his rare interviews Malick says “I overexposed the negative and then printed it with very low contrast, so that even in exterior shots with natural light the characters never need to be lighted by reflectors.” So I guess that's why he wasn't using that much artificial light, although depending on the shots (and therefore, depending on who of the three dps shot them) it can clearly be seen the use of lights. And as you said, Spacek ended up marrying Jack Fisk, the art director in Badlands and most of Malick's films, some of David Lynch's, Paul Thomas Anderson's, etc. Any chance of seeing some of those slides that you mentioned?? That would be great!
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