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The Devil's Rejects


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Does anyone out there have any information on what stock and processing method(s) were used on this film. I saw it yesterday and was surprised by its Texas Chainsaw Massacre look.

 

With todays stocks, super16 generally looks a lot cleaner.

 

Jeff Roberts

NYC DP

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I doubt it was Super16... This was a (guess) $9-$11 million dollar movie, and I'm pretty sure most was shot in 35mm.

 

PS)

 

With todays stocks, super16 generally looks a lot cleaner.

What are you comparing Super16mm too? If your comparing it to 35mm, I can tell you that by nature when dealing with most newer stocks (16 or 35), 35 will be sharper. Thats because the frame is more than double the size of a 16mm frame, and maybe 3/4 bigger than Super16. So by nature, more grain particals can fit in the 35mm frame, herein creating more resolution by nature.

 

Or maybe I need to go back to school...

Edited by Landon D. Parks
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"I can tell you that by nature when dealing with most newer stocks (16 or 35), 35 will be sharper"

 

This is based on your vast experience shooting 16 and 35 Landon? :D

 

There is plenty of sharp looking 16mm out there, and lots of grainy 35mm.

 

Lens quality, lighting, & ASA, are all contributing factors. Not to mention DOP skill.

 

Technically you are right 5245 should always look sharper and less grainy than 7245, I say "should."

 

R,

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From what I've read, this film was shot on 16mm, I'm assuming super16. In viewing, it appeared grainier and less saturated that other blowups that I've seen. Most likely this was intentional, serving the grit of the story. I was just wondering if anyone had any knowledge of the technique used for the look as I haven't seen much written on the subject, other than them using a DI.

 

Jeff Roberts

NYC DP

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seeing as how house of 1000 corpses was shot in 35mm, why would they switch to a lower quality format when the budget has increased? It was probly shot on 35mm... as to the process, I dont know. I cant seem to find any technical info about it...

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I cant fnd any articals on it,, please share some...

 

 

Landon here are the production notes on "The Devil's Rejects"

 

www.lionsgatepublicity.com/ epk/devilsrejects/docs/pro_notes.doc

 

 

Here is an excerpt

 

"Despite a bigger budget and more technical resources, Zombie was careful to avoid the glossy, refined look that characterizes most contemporary horror movies. ?One problem I have now in movies, compared to the 70's, is they just look too good,? he says. ?Real life is messy. As soon as it becomes too clean, then you know you?re watching a movie. It's not scary.?

Wanting a slightly more rough-hewn look for the film, Zombie chose to shoot THE DEVIL?S REJECTS on Super 16, a grainier film stock that runs on lighter, smaller cameras. This enabled him to shoot the movie almost entirely with a hand-held camera. ?There's a little steadicam and only one dolly shot in the whole movie,? says Zombie. ?Even when we put the camera on a tripod, we always put it on a bag so that it was a little shaky.?

THE DEVIL?S REJECTS, consequently, recalls the bleaker, more desolate palette of George Romero?s early films or the original THE TEXAS CHAINSAW MASSACRE. ?When something bad was happening, I wanted it to be horrible to watch,? says the director. ?The motel scene is a good example. When we filmed it, everyone watching it on the monitors seemed upset. And the actors all seemed upset. That told me we were on the right track.?

Zombie is the sole architect of his musical image and was responsible for developing and designing all of the band?s products and stage shows. It comes as no surprise, then, that he is equally involved in every facet of his films, from production design to wardrobe and hair. ?I drive everyone nuts,? admits Zombie. ?I did drawings of every character before we even had a costume person. I knew what I wanted everything to look like. Everything matters to me. If one person's sideburns or belt buckle are wrong, it drives me nuts. It's all in the details. Especially with a movie like this, where you're trying to create a specific world. I?m always trying to find that tone where it?s interesting enough that you'd want to look at it, but it?s never over the top.?

THE DEVIL?S REJECTS was shot entirely on location in the desert communities of Lancaster and Palmdale, California, during some of the hottest months of the summer. If the locations weren?t always conducive to film production, they contributed an air of authenticity to the rural, backwater look of the film. ?The motel set was tight, cramped, hot, and miserable to be in,? remembers Zombie. ?And after a while you could really see that the actors looked miserable. It was really uncomfortable to be there. Same with the desert. But it added an element of realism that wouldn't be there if it was a cushy, fake set. I think it also helped keep people in character.?

?Every scene feels much more real when it?s so hot and you?re physically in pain,? admits Haig.

Despite the discomforts the cast and crew may have experienced, Zombie fostered a collaborative atmosphere on set. ?It?s always a pleasure working with Rob,? says Haig. ?He?s relaxed. He?s clear about what he?s looking for. And he gets out of the way and lets you do your work. He instinctively knows your level of insanity and isn?t afraid to let you explore it, either.?"

 

 

Manu Anand

Bombay

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Sounds like a wonderful production to be a part of. Incredibly hot and restricted, little creative input, and lastly the director looks to make sure his crew is sickened by the material. COUNT ME IN.......................

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I'm with you Drew. Hey Rob, sign me up for your next film!

 

Then again, I know what he's talking about when it comes to these new holly-thrillers being too slick. I actually am debating between plain 16mm and Super8 for one thriller idea, due to the grittiness I want.

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I think that's called the "Pearl Harbor" syndrome.

 

Well, I have one script I've optioned that would be ideal for shooting on 65mm, the grander-than-life epic. But, for the thriller I've been developing, it demands grit, and lots of it.

 

Too many cases of directors trying to force the movie to fit the medium, and not picking the medium to fit the movie.

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Too many cases of directors trying to force the movie to fit the medium, and not picking the medium to fit the movie.

This may the the case sometimes, but let me tell you, a majority of the time its the producer or production company that will have the final word, and Super 16 is a gamble, while it may fit some films, people associate it with "Amatures" and the studios know this, so they may not be willing to allow the project to shoot in super 16.

 

Clearly Lions Gate don't care, and anyone who would make a sequal to "House of 1000 corpses" (that by the way got an D- on Yahoo movies and was dished by everyone around) can't care about much...

 

Maybe I should approach Lions Gate with my project! Cause if they will let Mr. Zombie direct or to even make a sequal to such a mvie as "House of 1000 corpses" then my project is sure hit for them!!!

 

It looks like it MAY have paid off though, but it will take it some time to make any money for the studio, seeing as how opening weekend was pretty sucky (6million I think), but it got semi-good ratings this time around...

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I've heard of studios not allowing someone to shoot a feature in Super-16 ("Man on Fire" was one example); sometimes the reason given is the requirement to "deliver a 35mm negative" although if you create a 35mm internegative from the Super-16 original, especially with a D.I., I don't see why that requirement isn't met.

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speaking of man on fire, I just rented that 2 days ago at blockbuster! Pretty good little movie, but like most films she's in, it wouldn't been half as good without Dakota Fanning.... She plays the role so well, as like most other roles she plays.

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I've heard of studios not allowing someone to shoot a feature in Super-16 ("Man on Fire" was one example); sometimes the reason given is the requirement to "deliver a 35mm negative" although if you create a 35mm internegative from the Super-16 original, especially with a D.I., I don't see why that requirement isn't met.

What was Man on Fire shot on? My co-worker insists it was shot with a GL-2, I keep telling him to go sit on it.

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According to Paul Cameron they incorporated a wide variety of stocks for "Man on Fire", including cross processed reversal (5285) often pushed 1-2 stocks and negative 5284 Expression, 5274, and 5248.

 

Cameras: Hand cranked Arri 2C's alongside Millenium XLs, an Arri 435 for high speed and an assortment of 16mm cameras. (17 cameras were used on the scene where Creasy/Denzel blows up the rave club)

 

Lenses: a complete set of Mark II primes ( a Cameron favorite) several 11-1 and 135-420mm zooms which is in line with the visual aesthetic of director Tony Scott.

 

 

Source: ICG magazine April 2004

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Clearly Lions Gate don't care, and anyone who would make a sequal to "House of 1000 corpses" (that by the way got an D- on Yahoo movies and was dished by everyone around) can't care about much...

Translate that D- into an A because how can you love a movie that was intended to sicken you? In order to meet its goal it has to suffer popular appeal. An example I wish more filmmakers would follow.
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Translate that D- into an A because how can you love a movie that was intended to sicken you? In order to meet its goal it has to suffer popular appeal. An example I wish more filmmakers would follow.

 

I swear almost no director anymore is willing to focus all efforts on a goal. Remember when directors were there to give you a message? Night of the Living Dead being a metaphor for racial strife, North by Northwest being about men's inability to commit to a relationship, etc? I'm going to go see The Devils Rejects based just on what's been said here, and I hated House of 1000 Corpses. That says something.

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Finally went and saw it.

 

What did you guys think of the handheld work? I'm all about some raw, doc-style camerawork, but the shots outside the motel were really shaky and nauseating. It wasn't style; it was sloppy.

 

The movie wasn't all that scary or gross. It just came off as offensive. I think "1000 Corpses" had a good bit more craftsmanship (not that there was a lot, but there was more). Otis came off as a whinny little kid who hardly made a good Satan. I did however like the sheriff's character.

 

One more thing... HOW did this movie receive an R rating? Seriously.

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Translate that D- into an A because how can you love a movie that was intended to sicken you? In order to meet its goal it has to suffer popular appeal. An example I wish more filmmakers would follow.

:lol: tell me your joking! an A!!!!! :huh: :blink:

 

Ahem, this says it all:

 

"It's just Horrible!" - E! Online

"I fail to see what the attraction is with this film" - Film Threat

"A waiste of time on all levels" - Filmcritic.com

"Cheesy and Ugly" - Hollywood reporter

"An Unwatchable mess" - New York Post

"A crowded, frenzied film in which no single idea is developed to satisfyingly payoff" - New York Time

"Horrible, Just Horrible" - Landon D. Parks

(Direct Source: http://movies.yahoo.com/shop?d=hv&cf=critic&id=1803471098 )

 

Come on, 7 to 1.... Anyone else wanna back me up?

Edited by Landon D. Parks
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