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Look at this 16mm print of Taxi Driver that sold on eBay. With shipping and sales tax, it is about $420 for a faded red print. Film collectors would rather project a faded print than watch a restored version on Blu-ray or 4K. Now, I got lots of faded red films. But usually they cost $5 - $20. And the only reason I have them is there are no other options, and they are rare. But I'm talking about short subject films, not feature films that are available on disc. I'm thinking if this was a pristine, grade A color 16mm print it would be $2,000 - $2,500...but just guessing. Full rundown: https://archive.org/search?query=taxi+driver+teoli On the Blu-ray bonus features, Martin Scorsese talked about having to desaturate the blood at the end of Taxi Driver to avoid an X rating. He never did fix it and come out with an uncensored version. Maybe he is waiting until 50th anniversary in 2026. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
How Martin Scorsese Captures Emotion
Ritik Pandey posted a topic in Directinghttps://www.youtube.com/watch?v=aejUCHFatSw
I'm sure most of you have seen this beauty by now. Dropped out of nowhere yesterday and set the entire Internet ablaze. First of all, do yourselves a favor and avoid watching the trailer on YouTube or any other source than Netflix itself obviously. The trailer is apparently in 4K on the platform, I watched it on a big screen and it's obviously much less compressed and much more representative. The deaging can be seen from the opening of the trailer with Pesci and De Niro and at the end of it. Looks pretty darn impressive when viewed properly on Netflix. De Niro's skin looks a bit smooth on more compressed versions, it does not on Netflix itself. Otherwise, I've been checking out a bunch of set photos to determine how much was film and digital. The producer Emma Tillinger Koskoff pulled some numbers a while ago which were incorrect for some reason, ie 30% of the film being shot on 35mm, and that everything involving the deaging required shooting digitally. However, Thelma Schoonmaker said half of the film has them deaged. So that means half Alexa (as listed on IMDB) and half 35mm film. IMDB lists the following info: Arri Alexa Mini, Zeiss Master Prime and Cooke Panchro/i Classics Lenses Arricam LT, Zeiss Master Prime and Cooke Panchro/i Classics Lenses I don't know if anyone here knows Prieto or someone else involved with the film and can provide maybe more technical info? I also saw that Prieto tested some special rigs consisting of multiple cameras at a rental house. And you can see one of the rigs on the set photos, seemed like several Red cameras which are presumably there to capture facial data for the deaging. And the Alexa which is now being regularly used by Prieto and Scorsese for low light work (Wolf, Silence). Gorgeous work as expected and a film that's been in the works for a decade, Schoonmaker and others close to the project have said it's a different animal than Goodfellas and Casino despite the obvious initial similarities. The film is opening at NYFF late September too, presumably released in November on Netflix, Scorsese has been said to make a push for a wide release of sorts with possibly an exclusive theatrical window of a few weeks.
One of my favorite films is The Departed, aside from the great story and cinematography, the lighting is amazing. My favorite shots are in the State Trooper offices of Martin Sheen and Alec Baldwin's offices and conference rooms. Has anyone here worked on this particular set or know if they used lens filters, filters on the windows or increase the lighting to match the exterior, so you can clearly see the buildings across the street? I attached screenshots for reference. Thanks!!