I just want to point out again how brilliant some night scenes shot in Dunkerque are going to look like (imagine the IMAX):

Do you know if they also shot some night scenes in Urk?

Were you one of those extra's or were you standing behind us, watching? Because there were about 4 of us in that scene if you were one of them I would know you. Also no night scenes as far as I know, we just had some long days and we came in port at sundown a few times.

OK, am I the only one who gets the obvious hard on van Hoytema has for Tarkovsky's films, I mean just look at that trailer for heaven's sake...

dem slow drifting shots

Anyone else notice how Hoytema's photography has much weaker contrast than Pfister's did? I obviously don't mean that negatively and I think it's a pretty purposeful decision on his part. Both this and Interstellar have an "old school" film look to them compared to how modern the Pfister shot films looked. Might have been a reason as to why Nolan wanted to work with him.

I dunno, just spitballin'.

ChristNolan wrote:Anyone else notice how Hoytema's photography has much weaker contrast than Pfister's did? I obviously don't mean that negatively and I think it's a pretty purposeful decision on his part. Both this and Interstellar have an "old school" film look to them compared to how modern the Pfister shot films looked. Might have been a reason as to why Nolan wanted to work with him.

I dunno, just spitballin'.

Yeah, noticed that as well.

ChristNolan wrote:Anyone else notice how Hoytema's photography has much weaker contrast than Pfister's did? I obviously don't mean that negatively and I think it's a pretty purposeful decision on his part. Both this and Interstellar have an "old school" film look to them compared to how modern the Pfister shot films looked. Might have been a reason as to why Nolan wanted to work with him.

I dunno, just spitballin'.

Obviously.

Since it's not possible for you to say something negative about a Nolan movie.

ChristNolan wrote:Anyone else notice how Hoytema's photography has much weaker contrast than Pfister's did? I obviously don't mean that negatively and I think it's a pretty purposeful decision on his part. Both this and Interstellar have an "old school" film look to them compared to how modern the Pfister shot films looked. Might have been a reason as to why Nolan wanted to work with him.

I dunno, just spitballin'.

Yup, both Låt den rätte komma in and Tinker Tailor have that retro old school look. In fact, it's prominent in some of the Scandinavian movies he shot in the early 00s as well.

ChristNolan wrote:Anyone else notice how Hoytema's photography has much weaker contrast than Pfister's did? I obviously don't mean that negatively and I think it's a pretty purposeful decision on his part. Both this and Interstellar have an "old school" film look to them compared to how modern the Pfister shot films looked. Might have been a reason as to why Nolan wanted to work with him.

I dunno, just spitballin'.

I really wonder if this is the final grade, these shots are incredibly monochromatic.


-Vader

Vader182 wrote:

ChristNolan wrote:Anyone else notice how Hoytema's photography has much weaker contrast than Pfister's did? I obviously don't mean that negatively and I think it's a pretty purposeful decision on his part. Both this and Interstellar have an "old school" film look to them compared to how modern the Pfister shot films looked. Might have been a reason as to why Nolan wanted to work with him.

I dunno, just spitballin'.

I really wonder if this is the final grade, these shots are incredibly monochromatic.


-Vader

i think it fits