Hollywood is in the middle of a digital revolution. Over the past few years, the titans of the industry have switched to digital cameras, and it seems like the days of shooting on film are drawing to a close. Of course there will always be holdouts (Christopher Nolan), but as digital cameras get more and more advanced, you have to wonder how long it will be before everyone has converted. These are the main issues explored in Keanu Reeves and Chris Kenneally‘s great documentary Side by Side. The two filmmakers sat down with people like James Cameron, David Fincher, George Lucas, Christopher Nolan, Martin Scorsese, David Lynch, Stephen Soderbergh, and Andy and Lana Wachowski to talk about the evolving landscape of filmmaking. If you’re a film nerd, it’s a must see movie. For more on Side by Side, here’s some outtakes and a trailer.
Last week, I landed an exclusive interview with Keanu Reeves. Besides thanking him for getting the Wachowskis on camera, we talked about what surprised him about the digital revolution, how digital cameras and digital projection have advanced in the past few years, IMAX, whether it was tough to land the interviews, and so much more. In addition, with Reeves having directed his first feature, Man of Tai Chi, we talked about when people will see it, the film’s rating (PG-13), and why he used the ARRI Alexa. Finally, we also talked about 47 Ronin, how he’d like to direct a film called Life and Art, the status of Bill and Ted 3, and Point Break Live (which is a lot of fun). Hit the jump to watch or to read the transcript.
If you’re a fan of director Guillermo del Toro, you’re going to want to hit Collider everyday this week. I recently sat down with the gifted filmmaker for an epic hour-long video interview and every day this week I’ll be posting part of it. Over the course of sixty minutes we talked about his past projects, Pacific Rim, what he has coming up, and everything in between. If you missed part one, we discussed his amazing Comic-Con presentation, what it was like working for Legendary Pictures and collaborating with Thomas Tull on Pacific Rim, what changed during production, the physical nature of the shoot, and so much more.
In today’s installment, del Toro reveals why they didn’t shoot Pacific Rim in 3D and why they won’t post convert, the reason they used the RED EPIC camera and had 15 of them on set, how the logistical problems in the film were all about scale, and why he edits all of his films as he shoots and that his first cut is a little over two hours. In addition, del Toro reveals that the Pacific Rim Blu-ray will have 30 minutes of deleted scenes and talks about why he cut them out of the film. He also describes some of the scenes. Finally, he says they will be deleted scenes and not part of some extended cut. Hit the jump to watch and check back tomorrow night for part three.
Last December, we reported that The Amazing Spider-Man would be shooting with the top-of-the-line RED EPIC cameras. I won’t bore you with all of the technical jargon (mostly because I barely understand it myself), but what you need to know is that only IMAX cameras provide better resolution and that it’s a light-weight 3D camera. Amazing Spider-Man director of photography John Schwartzman told the moderator of Reduser prior to screening the footage, “This is the best looking footage I have ever shot.”
But he’s the cinematographer. Do you honestly expect him to say “I would rather stare into the dark abyss of blackest hell than see this footage,”? However, a Reduser poster was equally effusive. Hit the jump for what he had to say on the impressive footage (all of it is spoiler-free; he’s only talking about image quality). The Amazing Spider-Man opens in 3D on July 3, 2012.
James Cameron has purchased 50 RED EPIC-M cameras for $2.9 million (I wonder if he got a discount because he bought in bulk). For those unfamiliar with the camera, Technology Digital explains that each camera is only 5lbs but can deliver ultra high-resolution, 3D images. Some of the films currently using the EPIC-M are The Amazing Spider-Man, The Hobbit, Prometheus, Jack the Giant Killer, Contagion (although I’m not sure if this film will be in 3D), and Underworld.
Presumably Cameron bought the cameras for Avatar 2 (which is set for release in 2014), but maybe he just wants to give them out as party favors. Or maybe Cameron is just really serious about his home movies and doesn’t want to mess around with a camcorder. But I would say the best guess at this moment is Avatar 2.
“Today was Epic, Monday December 6 marks the first day the Red Epic camera was used to shoot a major studio motion picture.” This is how John Schwartzman A.S.C. begins an enthusiastic post to commemorate his first week on the job with a fancy new toy. He does not specify the film, but Schwartzman is the cinematographer on Sony’s Spider-Man reboot, and the dots are easy enough to connect from there. This revelation is yet another harbinger of the coming RED EPIC era of big budget filmmaking, following the announcement that Peter Jackson would employ the cameras for the Hobbit films.
Since Spider-Man has started production, our first true look at the film ought to follow shortly — you know, something more insightful than Emma Stone’s custom hair color. Stone is joined by Andrew Garfield Rhys Ifans, Sally Field, Martin Sheen, Iffran Khan, Campbell Scott, Julianne Nicholson, and Annie Parisse in the Marc Webb-directed feature. The Spider-Man reboot opens in 3D on July 3, 2012. Hit the jump for the whole of Schwartzman’s post, which outlines the technical glory of the RED camera.