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This film was supposed to premiere today at the Cannes Film Festival. Darius Khondji will be there, according to afcinema.

 

 

 

Apparently, Netflix did not want this to be shot on film and demanded it be shot in 4K:

 


“At first, Darius Khondji, my cinematographer, and I wanted to shoot ‘Okja’ on 35mm, but Netflix insisted that all Netflix originals be shot and archived in 4K,” Bong said in an interview with Variety. “Khondji then figured that we would use Alexa 65, which equates to a 70mm film in digital format. It makes a great cinematic vibe.”

 

The film got into a controversy between Netflix and the Festival because Netflix didn't want to show the film in French cinemas.

 

The screening was stopped today because of heckling.

 

Here is a fresh interview with Darius Khondji – in French. Check this link, too.

 

Here's another one, in French again. Funny that he says he hopes he has no style.

 

The film will be released on Netflix on 28 June 2017.

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There was a malfunction with the curtain, film was screened normally after that, and reactions are excellent. I was stunned by Netflix forcing him to shoot digitally considering Win It All, Joe Swanberg's latest on Netflix, is super 16, same for The Meyerowitz Stories by Noam Baumbach, those two are acquisitions though. Even then, not sure they get that film is not a fixed resolution. I'm pretty sure Marty & Rodrigo are going to shoot film on The Irishman anyway.

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I wonder why it matters for Netflix acquisition to be in the digital realm. Surely they could have shot on film and scanned in at whatever range they wanted. I smell politically motivated forces behind this.

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What do you mean by "political"? Netflix demands that all of their original programming be shot on a digital camera with a 4K+ sensor. They've been fairly consistent about that -- they feel it is a legal matter since they claim to their customers that the material is shot in 4K and finished in 4K. So what politics are you referring to?

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Oh, good. The BBC first had a title that the film was "booed", but then they corrected it to say that it was stopped because of a technical glitch.


Are reactions excellent? I'm relieved. I really am. Because to me this looks like a bore. Yawn. :ph34r: It's as if I saw this movie already: the monster is different, but everything else is there – an evil corporation is after a lone compassionate and just individual who is trying to save the world from the corporation's wickedness. I'm glad I'm wrong.


It seems that Khondji's next film is Benjamin Millepied's Carmen.

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What do you mean by "political"? Netflix demands that all of their original programming be shot on a digital camera with a 4K+ sensor. They've been fairly consistent about that -- they feel it is a legal matter since they claim to their customers that the material is shot in 4K and finished in 4K. So what politics are you referring to?

 

I was aware of the 4K requirement, but I did not know they also required digital acquisition. I was thinking, politically, that someone might be able to have original camera negative other than Netflix, and might down the road be able to utilize that in some way which may be a reason to require digital camera only. But I understand the need to be consistent about their goals and marketing. I'm glad I know that now!

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Oh, good. The BBC first had a title that the film was "booed", but then they corrected it to say that it was stopped because of a technical glitch.
Are reactions excellent? I'm relieved. I really am. Because to me this looks like a bore. Yawn. :ph34r: It's as if I saw this movie already: the monster is different, but everything else is there – an evil corporation is after a lone compassionate and just individual who is trying to save the world from the corporation's wickedness. I'm glad I'm wrong.
It seems that Khondji's next film is Benjamin Millepied's Carmen.

 

 

If you know anything about Bong Joon-Ho, you'll know that this will be anything but generic.

 

 

Also, I'd bet my left foot that Scorsese & Prieto are going to shoot on film as always for The Irishman, probably Alexa for low light situations as with Wolf & Silence. I doubt Netflix can force those two to shoot full digital. It is a BS policy on Netflix's part, I feel it might partly be ignorance and be more like "This was shot at 4K" as David said. It seems David is in the know though.

 

I guess the way out is to basically have Netflix acquire your film later on, like with Win It All, shot on Super 16.

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So... What's the cinematography like in Okja?

 

I started this because this is the first feature Khondji used the Alexa 65 on (he used it before on one commercial, I think, and was one of the first to do so, I believe). So I'm intrigued as to how the film looks and how Khondji's work looks in digital.

 

Here is another brief sneak peek:

 

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Superb as expected. Film looks gorgeous, although I wonder what it would have looked like on 35mm film. The Alexa 65 sure looks insanely clean & crisp.

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