Dunkirk's Cinematography

The 2017 World War II thriller about the evacuation of British and Allied troops from Dunkirk beach.
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Deakins moving to and preferring digital is a crime against humanity.

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Bacon wrote:Deakins moving to and preferring digital is a crime against humanity.
you better hope solo and crazy don't see this

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Deakins is a master though. Don't get me wrong.

Solo also said Hoyte's work on Dunkirk is bad so...

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AhmadAli95 wrote:Watch the clip for Deakins where he talks about moving on to digital and Hoyte is listening like...

These short versions always look iffy and make the guests look like they can't stand each other but in the full episode you get the genuine interactions.
Can't wait to see the full episode! Loved the part of Hoyte's clip where he talks about feeling like the new girlfriend. Marking my calendar for February 25th.

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Bacon wrote:Deakins moving to and preferring digital is a crime against humanity.
I fully disagree with you. He shot things that he could never have done with film.

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Last edited by Pioneerr on January 28th, 2018, 1:09 pm, edited 1 time in total.

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Pioneerr wrote:
January 13th, 2018, 10:48 am
Pioneerr wrote:
Bacon wrote:Deakins moving to and preferring digital is a crime against humanity.
I fully disagree with you. He shot things that he could never had done with film.
You quoted yourself to add nothing?

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Deadline: ‘Dunkirk’ Cinematographer Hoyte Van Hoytema On Christopher Nolan’s Visceral Approach To Cinema
http://deadline.com/2018/02/dunkirk-hoy ... 202280811/

Excerpt:
Did you look at any films as reference points, or only photographic sources?

You do both. You tend to be very greedy when you’re prepping—whatever can inspire you in whatever way, you sort of take to you. On Dunkirk, we screened a film every week—in cinemas, on real film stock. We watched Ryan’s Daughter, we watched Saving Private Ryan, we watched Battle of Algiers. We watched Wages of Fear, Full Metal Jacket: every usual suspect.

We didn’t watch them to copy them or to inform how to do a war film. What we watched them for was to see how different kinds of film language can tell the same story, and also, to learn from how we didn’t want to approach it. It’s always very inspiring. From every little film, you take something away and dismiss something else, and with that in mind, you start creating your own set of rules.

As logistically complicated as it must have been, was Dunkirk storyboarded in its entirety? Supposedly, the script was only around 70 pages long.

It was indeed 70 pages, but that’s also because most scripts you read today involve a narrative that is very dependent on dialogue. The narrative that Chris created was not at all dependent on dialogue; it was much more dependent on the happenings, so that thinned out the script a lot. At the same time, apart from some select scenes, we didn’t storyboard. There are always storyboards for complex scenes in which you have to bring visual effects and special effects together and very precisely understand specific things, but for most sections, we tried to be as loose as we could.

We always felt we had to be able to anticipate and change up because Chris and Emma [Thomas, producer] chose to shoot everything in the real place. We had a lot of advantages. It’s a very arresting visual landscape, and you really can feel the history in that place. That’s something that ultimately will register on camera.

The problem with it is, you have to deal with the weather and all sorts of practical things that will come across your path. So you need to be ready with a certain flexibility.

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Watch THR's Full Cinematographer Roundtable With Talent From 'Blade Runner 2049,' 'Dunkirk,' and More on SundanceTV
Roger Deakins, Robert Elswit, Janusz Kaminski, Dan Laustsen, Rachel Morrison and Hoyte Van Hoytema joined THR's Cinematographer Roundtable.
https://www.hollywoodreporter.com/news/ ... tv-1081437
Excerpt:
Viewers can watch the roundtable discussions Sundays on SundanceTV as part of the cable channel's original nonfiction series, Close Up With The Hollywood Reporter, produced in partnership with THR. Come back to THR.com on Mondays after the shows air for the full, uncensored discussion online.

The sixth of seven episodes — the Cinematographer Roundtable — airs this Sunday, Feb. 25. For subsequent episodes, tune in every Sunday at 10 a.m. ET/7 a.m. PT on satellite (channel 557 on DirecTV and 126 on Dish nationwide), and at 10 a.m. ET/PT on cable (channel 625 on Spectrum/TWC in L.A., 94 in NYC).

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