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Miguel Roman

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  1. Miguel Roman
    Certainly, I agree that the look of Days of Heaven was not determined by the Metrocolor processing. I would like to use some of the information that you Mr. Mullen gave before in this topic, the info regarding the film stock 5247 and how the first version was not really liked by numerous cinematographers and directors; I was wondering if you could tell me the source of this info so I can justify it in the bibliography of my thesis, unless, of course, it comes from your own knowledge. Thanks in advance!
  2. Miguel Roman
    Oh, ok; I thought the process might have been different depending on the lab. I read somewhere that. Lately I came across this: Since the mid 1950s the majority of Hollywood films have used Eastman color. The name may read Metrocolor (owned by MGM), WarnerColor, or Color by Deluxe (owned by Twentieth Century-Fox), but the basic stock nearly always comes from Eastman Kodak. Only the processing was (and is) different. I read it in the book Shared Pleasures: A History of Movie Presentation in the United States (by Douglas Gomery).
  3. Miguel Roman
    Thank you so much!
  4. Miguel Roman
    From what I understand, the Metrocolor process was different than the Eastmancolor process and that is what they had to name it differently, since they were not following the instructions for developing that were given by Kodak Eastman. I wonder how different was the process of Metrocolor from the Eastman's one...
  5. Miguel Roman
    I was wondering if anybody could tell me about the process of color timing involved in Days of Heaven; Néstor Almendros mentions how grateful he was to Bob McMillan (from MGM) and what a terrific job McMillian did adjusting the colors. Since Almendros used to pull out the 85 filter off the lens when the light was fading away (as they were shooting very often at the "magic hour") I imagine the biggest color difference in the rushes would be a blue tone on the images after the 85 filter had been removed. Also I know that the process used was metrocolor; any insight about this process would also be appreciated.
  6. Miguel Roman
    I read about the the upside down slating; I guess I can understand why the crew was not really happy about working with an inexperienced director, but the final result did pay off, in my opinion. About Tak Fujimoto, he supposedly only took over after Brian Probyn stopped and then left when Steven Larner came in. I leave you the extract of the article where this is mentioned (took from The Guardian): British cinematographer Brian Probyn established the dreamy texture of the picture before being taken ill, exhausted by the heat, the long hours and Malick's idiosyncrasies. "On several occasions," says Pressman, "I can recall Brian shooting with the slate upside down as a form of protest in a disagreement with Terry about methods of orthodox coverage and matching shots." Tak Fujimoto - who later became Jonathan Demme's regular cinematographer - took over after Probyn's departure, until a new director of photography, Steven Larner, was found.
  7. Miguel Roman
    Badlands is a very recommendable film to watch, although it is not a totally faithful recreation of the actual events, just inspired by them and their characters; when I first watched it I didn't know anything about the story of Starkweather and Fugate, but I liked it as a film in its entirety, a film which was slightly different than the ones I had seen before; you can already see Malick's trade mark shots and montages. Tom, let us know what you think about it when you finally watch it!
  8. Miguel Roman
    Malick was a philosophy student and even taught philosophy at the MIT for a short period of time; as a student, he was interested in the work of Martin Heidegger, from who he translated (from German) The Essence of Reasons (1969). I believe in the work of Heidegger there are several ideas similar to the ones you described when you talk about the role of Nature in Malick's films. Also, The Tree of Life and To the Wonder are supposed to be autobiographic in a certain way; The Tree of Life: Malick was raised in Texas (and Oklahoma), lost a brother (like Jack), his father was (among other professions) Chief of Aviation Technologist... About To the Wonder, some similitudes as well: Malick was supposed to have been living in Paris for certain periods of time, where he had a french girlfriend who came to United States later on... So I also believe that those two films are the most personal (from what I know about him). I find his five first films really interesting and beautiful, with a really upcoming and defining style. Of course, like with a lot of great directors, Malick knew how important collaborators are in film making; just to name a few, he has worked with Nestor Almendros (D.P.), Jack Fisk (Art Director), John Toll (D.P.), Billy Weber (Editor), etc. I believe that one of Malick's greatest strength is to regard film making as art, instead of just a product; in that sense, he will treat each and every department/collaborator as an artist, and as such they will probably behave.
  9. Miguel Roman
    Now, that is very interesting; according to an article published in The Guardian, your father was the first cinematographer to work on the movie, until he "got ill"and had to stop; after that, Tak Fujimoto took over the photography and finally Steven Larner completed the shooting of the film. Watching Badlands, I never got the feeling that the photography changed very much during the length of the film, despite having been shot by three different persons. I wonder if by any chance you know which scenes or shots were shot by your father?
  10. Miguel Roman
    Wow, your father was Brian?? That's really interesting! I am sorry to hear about that ulcer...but could you tell me about the shooting experience of your father in Badlands? What did he think of the shooting style of Malick (and about Malick himself?
  11. Miguel Roman
    About Malick in Badlands, I believe that he always wanted to reshoot that scene later on, but Martin Sheen wouldn't let him (also the production went over budget and for an independent film it would have been difficult to reshoot, I imagine)
  12. Miguel Roman
    Thank you Mr. Mullen for the book, I already got Barry Salt's, which I would say it's almost indispensable for any cinematographer/student; thanks also for the link!
  13. Miguel Roman
    About the fact that the jump cut is being over used nowadays, I believe that it is due to aesthetic reasons and easy editing/film making; jump cuts can be used with a humorous intention or to speed up the flow of the video. And about the easy editing, youtube is a platform that allows to virtually every single person to have their own "TV show", but that doesn't mean that everyone knows about cinematography or editing. I believe people who upload videos where they talk about tutorials, reviews, lessons, etc, tend to ramble on too much, and in a vast amount of videos, they are just shooting themselves in a static continuous shot, so by the time they get to edit the video, they just skip the bits that don't satisfy them and the easiest way they can do that is with a jump cut.
  14. Miguel Roman
    I would like to know if you could also recommend me a good book (besides the ones you mentioned and American Cinematographer magazines) that talks about the history of the different film stocks (for cinema) manufactured by Kodak, specially about the stocks released from the 1970s on (I found the story about the 5247 very interesting). Thank you!
  15. Miguel Roman
    Thank you so much for the info, It is really helpful!!
  16. Miguel Roman
    Sorry about that!
  17. Miguel Roman
    Hello everyone! I am a Phd student and I am currently writing my thesis about the cinematography of Terrence Malick's films; I would like to ask if anyone knows what film stock was used in the shooting of Days of Heaven. So far I have only been able to find on the internet that Néstor Almendros used a "new Eastman ultra light-sensitive stock negative"... Thanks!
  18. Miguel Roman
    Hello everyone! I am a Phd student and I am currently writing my thesis about the cinematography of Terrence Malick's films; I would like to ask if anyone knows what film stock was used in the shooting of Days of Heaven. So far I have only been able to find on the internet that Néstor Almendros used a "new Eastman ultra light-sensitive stock negative"...
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