Tenet's Cinematography

Christopher Nolan's time inverting spy film that follows a protagonist fighting for the survival of the entire world.
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Well, Tallinn has a lot of scenic places, but Nolan chose the most generic ones possible. It’s just the aesthetic that they wanted to go with I guess. Sorry if our country looked shit and basic, it’s really beautiful if you don’t count the soviet era buildings and architecture.

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exylonia wrote:
September 14th, 2020, 6:55 am
Well, Tallinn has a lot of scenic places, but Nolan chose the most generic ones possible. It’s just the aesthetic that they wanted to go with I guess. Sorry if our country looked shit and basic, it’s really beautiful if you don’t count the soviet era buildings and architecture.
Your country doesn't looked shit and basic. One day I will travel to Estonia.

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Timed IMAX Footage

I don't think this has been posted yet, but for those interested someone timed the IMAX footage.

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yeah it was said they shot half the film in IMAX but this confirms it. 1 hour, 15 minutes and 47 seconds. Awesome that they managed to shoot so much in IMAX. That's a little bit more than in TDKR which had a longer runtime of 2h44min.

I still have no idea what were the longest continuous IMAX portions of the film. iirc Interstellars longest uninterrupted IMAX sequence was some 20 minutes long?

Ace
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Tenet DP Hoyte van Hoytema FSF NSC ASC says the big screen is best for movies
“I think the decision of when to roll out a film in a cinema, whether it’s safe or not, is not a decision for filmmakers, but rather, for epidemiologists and legislators,” van Hoytema says.
“But we filmmakers need to focus on what we do best – making films and making sure our platform survives as well as we can. We have to keep pushing so that when we come out the other end of this pandemic, we still have a theatrical industry left. Sometimes, that might mean one has to wait. Sometimes it might mean having to be very proactive by trying to open the film in cinemas wherever the law allows it.”
Thus, van Hoytema declares, “It was a huge surprise to me” that Nolan’s aggressive push “to let Tenet live exclusively in theaters was under big scrutiny. The most important thing he did was to make sure his film was ready for the theatrical experience to shield it from going to streaming too early, and protecting the effort of his crew, as well as the exhibitors.
“We want to go back to cinemas one day in the close future, and to do that, we have to put good value into our assets, and not flog it for peanuts at discount prices hastily. We have to give theaters something to look forward to, and reserve a competitive edge for them.”

...“In my mind, there is something diabolic in using this pandemic to overthrow a perfect and widely-appreciated branch of entertainment, trading it for something more easily accessible, yet slightly shittier,” he declares.
“Opportunism to lure people into paying more for worse, and selling that by making people feel they got lots for cheap is dangerous. It’s like fast food – cornstarch and sugary soda drinks from big buckets!
“Of course, it’s a disappointment, and cynical to see big film studios giving the finger to the people that gave them so much clout in the first place by not nurturing their theatrical branch with the respect the creators deserve. Hastily irreparable changes made in unprecedented times of crisis can lead to an opportunistic, dark and depressing decline in the mechanics of cinema and distribution, led by an obsession to sell as many data streams as possible over networks into people’s homes.
“In the bigger picture, in my opinion, the obsession with the quantity of data and the territorial imperialistic inclination related to that is very destructive and fascist. I think we look enough at the small screens surrounding us in our daily lives, so maybe it’s time to go out and marvel at bigger, more beautiful things with other people next to us. I’ve never met a single computer or TV screen that shows films the way they were shot and intended. There is always a lot of compression, as well as an immeasurable amount of TV settings that will make even untrained toes curl up.”
All of which is why van Hoytema firmly insists “there is nothing like the visceral IMAX experience – not even close.” And, he adds, this is why it’s worth it for artists like Chris Nolan and others to speak out on such matters right now, even in the midst of a pandemic that has altered the terrain.
“There is something icky to me about referring to people’s blood, sweat, tears, and labor in the way-too-often-used term, ‘content,’ ” he says. “Fill a well with it, sell it at discount prices, make people believe they got a bargain, and yet at the same time, to do that, you have to trample over the very essence of what makes most cinema great – the interaction between a filmmaker and their audience.”
Last edited by Ace on December 25th, 2020, 10:09 pm, edited 1 time in total.

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My man Hoyte pulling no punches either.

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