Sorry Dasumandy. Eddington He is preparing to start coloring the film before claiming it will be Cannes’ release, so “it’s very different from his other films.”
The highly praised French Iranian cinematographer spoke screen On Saturday, April 5th, after masterclass, at Kumura Lab at Doha Film Institute.
With casts that include Joaquin Phoenix and Emma Stone, Konji says Eddington There’s “Actor I dreamed of working with again.”
“It’s going to be very different from his other films,” Khondji said. “Ali is a deep, strong filmmaker. He has the talent, or the perception of things that Ingmer Bergman and Roma Polanski had. His quest he wanted to tell a story – you could feel the influence of these filmmakers.”
Prior to the announcement of the Cannes lineup on Thursday, Condie said the Astor film had secured a place for Croisette and hoped it would compete.
Written and directed by Astor, Eddington Following the small town New Mexico Sheriff, who has a higher aspiration. The film was filmed in New Mexico a year ago and was also filmed among the cast, Pedro Pascal, Austin Butler and Michael Ward.
The film was shot at an aspect ratio of 1.85:1 against external pressure, Khondji said. “Everyone would have shot it in a long format with Cinemascope (2.35:1). We decided to do it at 1.85:1.”
Khondji confirmed he will start the digital intermediate process Eddington In a few days with Ivan Lucas, the colourist who first worked in the 1991 crime comedy delicatessen They’ve reunited several films since including David Fincher’s se7en.
Marty Supreme
Khondji teased another project of Josh Safdie, his upcoming project Marty Supreme Timothy Chalamet stars as table tennis champion Marty Moser. Philippe Petit, a French high-wire artist who was the subject of the Oscar-winning documentary. Wire ManAccording to Khondji, there are small parts to the film. One thing the cinematographer says is the 140 different characters in the film.
Khondji said Marty Supreme After working again with Lucas in July’s colouring, he said, “I’m ready for the end of the year.” This film will be “so different at this point.”
Working with Just Josh Safdie as the director who worked with Josh and Benny Safdie Uncut gem “There was no difference,” Konji said. “Josh has the incredible energy to make a film like I’ve never experienced. With every shot, he surprises him to come. He works like this. It’s continuous inspiration, intuition.
He detailed how he and Safdi push the film’s negatives to increase the grain. “Grain is like skin and is very important in the film,” says Khondji. both Eddington and Marty Supreme It is produced by A24 and releases both films in the US.
The cinematographer is pondering another project later this year. This is too early for him to argue.
Digital excess
In his two-hour Kumura masterclass session, Khondji targeted the overdrawn digitization of filmmaking, particularly the digital post-process that has been widely used since the 1990s, a digital intermediate digital post-production process.
“We were all (initially) looking for it,” Khondji said. “But when we started this, I was really back from it. interpretationwe did the early digital middle, but I didn’t like it. I didn’t like this process and thought we were losing ourselves and losing our minds to the non-real thing. I asked Sydney, “Can I start over chemically?”
“Digital intermediate is a very dangerous process,” says Khondji. “You need to be careful not to push the film – color, black. Freedom is artistically great, but you need to be careful about it.
Konji believes that some directors are moving back to filming in films, moving away from digital technology. “That’s not true. The film has an interesting, painterly quality. It’s very beautiful in its skin tone. When you shoot a film, you tend to push negative and increase the texture.”
He even lightened 3D, saying, “I’d turn down a movie in 3D.”
“When a director makes a film, we always create a 3D fantasy,” Khondji said. “I don’t like 3D things. It’s grossly charming and ugly.” He admitted there are “some exceptions” like James Cameron’s first. Avatar film.
“The technique is very barren,” Khondji said in the first half of the lecture. “The story (he filmed) was always guided by the script, and the story told me by the director.”
He also said he doesn’t like IMAX and the head of Imax asked him and manager Bong Joon Ho if they could shoot. Mickey 17 IMAX-friendly format. “We wanted to do a 1.85:1 release,” Khondji said. “We didn’t want to succumb to a special commercial release for IMAX.”
He once again admitted that there are exceptions like Christopher Nolan. Dunkirk and Oppenheimerhowever, he said that the best IMAX projected films are filmed in this format. “IMAX and 3D are all sensationalist,” continued Khondji. “I like movies like the (friend Kumra Master) Walter Sales movies. It’s a true story.”
The cinematographer said he didn’t particularly like his work in Richard Roncrene’s 2004 romantic comedy Wimbledon,Favorring Luca Guadagnino’s Challenger It’s been between tennis movies since last year.
“I love tennis. I don’t think we did it really well,” Khondji said. “I found it difficult to film tennis.”
He spoke more nostalgic about his work with Bon in the 2017 title. okjaabout a pig-like beast of the same name that was computer-animated for the film. “Bong and his young crew, who were preparing the film, were talking about Okya like she was alive, but she wasn’t around,” Konji said. “It was very strange to me because I wasn’t used to it. Little by little, they made me believe she was alive. She was here. We put her on the screen.
Konji said too screen He will “not close the door” 29 years after filming to make another musical Ebita Starring Madonna. “rear Ebita I turned down some big musicals. I loved my experience with Alan Parker, but I didn’t want to do anything else,” Konji said.
The Qumra Masterclass program will be speaking tomorrow morning (Sunday, April 6th) with Philippine filmmaker Lav Diaz.
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