The Film Stage: There’s a scene early in the film where Laszló is getting a tour of the Eastern State Institute for the Feeble-Minded and it’s this incredibly, incredibly long take that kind of, I think, sets the tone for the film. What was the process of capturing that scene like? Was that something you guys had talked about beforehand, or did it kind of evolve on set?
That was a scene that was kind of always going to be very long, and it was a scene that was always going to be entirely Steadicam. It was a scene that was always going to be, I think, quite sort of still and kind of, kind of, sort of, in a way, simple. But it was also a good opportunity to establish a lot of the visual grammar of the film. It was made of three or four extremely long lenses, and it was about connecting spaces, and it was about sort of understanding scale, and it was about sort of understanding the sort of almost labyrinthine nature of the place. It was a place that had huge ceilings, and it was a place that had a huge amount of sort of… it was a place that was kind of oppressive, and it was a place that had a lot of walls. And it was a place that was kind of a sort of, almost a sort of, a sort of prison. It was a place that was sort of, you know, it was a place that was kind of a sort of, kind of, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind 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was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind 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know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it was a place that was kind of, you know, sort of, you know, sort of, you know, it 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How about I summarize the article instead? This article provides an in-depth look at the technical aspects of filming a movie in VistaVision format, as well as the post-production processes involved in creating different versions of the film for distribution. The cinematographer discusses the challenges of working with an outdated camera system and the physical demands of operating it, as well as the differences between shooting in DCP, 70mm, and 35mm formats.
The cinematographer also discusses the decision to create a 70mm print of the film, despite the expense and logistical challenges involved. The director’s vision for the film as a theatrical experience, with intermissions and a larger format, is highlighted as a way to elevate the art of cinema and create a unique viewing experience for audiences.
Overall, this article provides valuable insight into the technical and creative processes involved in filming and distributing a movie in different formats, showcasing the dedication and passion of the filmmakers involved in bringing their vision to life. “The Brutalist” Review: A Cinematic Masterpiece in 70mm
A Quick Synopsis:
“The Brutalist” is a cinematic gem that shines in the glory of 70mm. This movie is not just a film; it’s an experience that transcends the ordinary. From the captivating storyline to the exceptional performances, every aspect of this movie is a testament to the power of celluloid and the art of filmmaking.
Full Review
The Power of Celluloid:
Director Brady’s tenacious spirit and unwavering belief in the value of celluloid have brought “The Brutalist” to life in a way that digital could never achieve. The dedication to creating 70mm and 35mm prints speaks volumes about the commitment to preserving the essence of true cinema. Thanks to the support from A24, Universal, and Focus, the 35mm and 70mm prints have added an extra layer of magic to this already remarkable movie.
An Ode to Adult-Themed Cinema:
What sets “The Brutalist” apart is its focus on adult themes and profound human examinations. In a world filled with mindless spectacles, this movie stands out as a beacon of storytelling that delves deep into the complexities of the human experience. It’s a refreshing reminder of the power of cinema to provoke thought, inspire conversation, and touch the soul.
Conclusion
As “The Brutalist” graces the screens in limited release, it serves as a testament to the beauty of 70mm presentations and the enduring appeal of adult-themed cinema. This movie is not just a viewing experience; it’s a journey into the heart of storytelling, where every frame is a work of art and every moment is a revelation.
Frequently Asked Questions
1. What makes “The Brutalist” stand out among other movies?
– “The Brutalist” stands out for its dedication to celluloid, adult themes, and captivating storytelling.
2. How does the movie benefit from 70mm and 35mm prints?
– The 70mm and 35mm prints enhance the visual experience, adding depth and richness to the cinematography.
3. What inspired the director and cinematographer to shoot on film?
– Their belief in the power and worth of celluloid, as well as their commitment to preserving the art of traditional filmmaking.
4. Why is “The Brutalist” considered a cinematic masterpiece?
– The movie’s focus on adult themes, exceptional performances, and dedication to celluloid make it a standout in the cinematic landscape.
5. How does the movie challenge the norms of modern filmmaking?
– By embracing 70mm and 35mm prints and focusing on adult-themed storytelling, “The Brutalist” defies the trends of digital filmmaking.
6. What can viewers expect from “The Brutalist” in terms of storytelling?
– Viewers can expect a thought-provoking exploration of human emotions, relationships, and societal norms.
7. How does the movie cater to audiences looking for more than just entertainment?
– “The Brutalist” offers a deep, meaningful cinematic experience that goes beyond mere entertainment, sparking conversations and reflections.
8. What message does the movie convey to filmmakers and cinephiles?
– The movie encourages filmmakers to push boundaries, embrace traditional filmmaking techniques, and prioritize substance over spectacle.
9. How does the movie’s release in limited theaters impact its reception?
– The limited release adds to the movie’s allure, creating a sense of exclusivity and anticipation among audiences.
10. What can audiences take away from “The Brutalist”?
– Audiences can take away a renewed appreciation for the art of cinema, a deeper understanding of human nature, and a sense of wonder at the magic of storytelling.
Tags: The Brutalist, celluloid, 70mm, 35mm, adult-themed cinema, storytelling, cinematography, filmmaking. “The Witcher: A Riveting Fantasy Series that Will Leave You Wanting More”
In this article, the writer goes on to praise the hit fantasy series “The Witcher,” based on the popular book series of the same name. The writer commends the show for its captivating storyline, impressive special effects, and stellar performances from the lead actors.
The writer highlights how the show successfully weaves together multiple timelines and storylines, creating a complex and intriguing narrative that keeps viewers on the edge of their seats. They also commend the show for its diverse and well-developed characters, particularly praising Henry Cavill’s portrayal of the brooding and charismatic Geralt of Rivia.
Additionally, the writer praises the show for its stunning visual effects, particularly in the epic battle scenes and magical moments. They also mention the show’s impressive costume and set design, which helps bring the fantastical world of “The Witcher” to life.
Overall, the writer concludes that “The Witcher” is a must-watch for fans of fantasy and action genres, and predicts that it will only continue to grow in popularity. They recommend the show to anyone looking for a thrilling and immersive viewing experience.