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Chris Doyle


David Mullen ASC

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Hey David, Tom, everybody,

 

I caught this Chris Doyle + Wong Kar-wai music video on YouTube.

 

http://www.youtube.com/watch?v=iZKeSNZhm18...feature=related

 

If anyone knows where to buy a high quality copy, please let me know.

 

I think it was Werner Herzog who has a quote saying that a filmmaker can't help but reveal their soul through their work even if they try to disguise it. I really appreciate Chris's work, I find it mind opening and grounding.

 

Ian Bloom

 

 

Yes, the DJ Shadow music video. Very familiar...Mike?

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I have not seen this films yet but they are definitely on my netflix list.... I love this guy's hair I don' t know what decade its from, but he sports it nicely.

Definitley influenced by Lyle Lovett :P .

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Slight digression... I happened to glance at the member index bit at the bottom of the main page and saw that it's your birthday today, Bill. I hope you had a good one bro!

Thanks, Jason.

 

Wish I had a fun story but my day started with a 5am call time...

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Have been curious into what stock if at all Mr. Chris Doyle used on The Quiet American. It almost feels like digital grain, HD? THxs

 

It was definitely shot on film, I don't recall the stock -- Doyle was alternating between Kodak and Fuji back then, lately he has been shooting a lot of Fuji Eterna stocks, pull-processed. But I think "The Quiet American" was shot on hi-speed Kodak stock.

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It was definitely shot on film, I don't recall the stock -- Doyle was alternating between Kodak and Fuji back then, lately he has been shooting a lot of Fuji Eterna stocks, pull-processed. But I think "The Quiet American" was shot on hi-speed Kodak stock.

 

 

thanks. Hi-speed it is. And it fits perfectly with the tone of the story.

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There's a great documentary that can be found on the internet called: Christopher Doyle: Stirred not Shaken. It's about an hour, and provides some really interesting insights into the man.

 

I've seen pretty much every documentary/interview in existence with him. I think he's an absolute genius. Most cinematographers I've noticed come from a predominantly technical standpoint (at least initially), and he was really the first to bring to light (along with Storaro) the importance of external influences (i.e. life, art outside of cinematography), as well as the importance of NOT conforming to normality for the sake of fitting in. Not that he isn't a technical genius, which as David Mullen has pointed out various times, he most certainly is (just watch Hero...).

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You know, I was watching 2046 today (realized I have had it for ages!) and I really loved his sense of framing (no look space, very unbalanced frames) as well as camera movements. There was an awesome overhead sex-scene shot with this slow, gentle twist left to right; phenomenal. I also had the great benefit of getting his book RGB (and whatever the numbers are, they escape me at the moment) very interesting read, for the images and the words.

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