Appearances of the Cast and Crew

Christopher Nolan's time inverting spy film that follows a protagonist fighting for the survival of the entire world.
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great interview!
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intersteIIarx wrote:
August 1st, 2020, 8:46 pm
great interview!
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That was a terrific interview, thank you for consistently posting excellent TENET material.

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Can’t wait to have my mind blown by this movie

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Cool interview linked in the updates thread which I made easier to read here. (now we're finally got a Jennifer Lame interview!!! :gonf: )

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intersteIIarx wrote:
August 3rd, 2020, 2:57 am
Cool interview linked in the updates thread which I made easier to read here. (now we're finally got a Jennifer Lame interview!!! :gonf: )
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Finally a Lame interview!!! Just one paragraph but it works for now. I needed it. :P thank you.

Also, loved this part of Hoytema and Nolan.
Nolan: The director/DP relationship is at least as important as the one I establish with a lead actor. This is the third feature I've done with Hoyte, after working with Wally Pfister [ASC] for a lot of years. Hoyte and I have developed a very productive dialog creatively sometimes spoken, sometimes instinctual, like musicians harmonizing together. Hoyte's degree of artistic sensitivity, along with a brain that lets me see him as both engineer and artist, combines the purely creative with the ruthlessly pragmatic. The greatest DP's help you find a storytelling balance between creative exploration and practical execution.

Van Hoytema: Each film Chris and I have done together is unique and cannot be told with off-the-shelf equipment. So the way a lens is constructed and used makes that choice a crucial one. Throughout prep, I always talk with Dan Sasaki, at Panavision, who is the lens guru of our industry, in my view. Dan understands film language and possesses the knowledge and resources to devise solutions. Traditionally, IMAX cameras are limited in terms of f-stops. We pushed for lenses that would let us shoot in low-light situations. IMAX has been mostly used for spectacle, for the epic. But I think that spectacle comes from more than just scope; it has to be balanced by intimacy, and it was important in Tenet to be able to follow the subtle developments happening with the main characters. Wanting to explore how IMAX could enhance quiet moments, we realized getting the camera in closer to subjects than had been possible before was a valid approach. Panavision's IMAX has never been much of a medium for close-ups because the lenses wouldn't focus close enough.

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This was a great read! Got me super hyped! :gonf:

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I wonder what made him choose Lame? I’d imagine she’s really good, but she hardly has any big films to her name, it always seemed like an odd choice to me.

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KEM wrote:
August 3rd, 2020, 11:54 am
I wonder what made him choose Lame? I’d imagine she’s really good, but she hardly has any big films to her name, it always seemed like an odd choice to me.
I think it’s good from Nolan because he’s looking for specific things instead of just recognition or something like that. I mean, Dunkirk had very little big names when it comes to actors.

Also, maybe this can add something to why he chooses certain people.
Nolan: For me, hiring is about looking at the work people have done in the past, but not necessarily in relation to what you're looking to do. I look for excellence and judgment. When meeting, it's more about discovering if there's a common creative language, which is exactly what turned out to be the case with composer Ludwig Göransson. I found a freshness in his approach that was striking in how it shifts from where film music has been these last few years. Working for the first time with him and editor Jen Lame was a real pleasure. I joked with her when she first came on that this might be the hardest movie any editor has ever had to cut - and I'm not sure she would dispute that right now [laughs]. Working out all the aspects of portraying time running in different directions meant going beyond what was down on the page, as the execution lay with a successful translation of the visual.


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KEM wrote:
August 3rd, 2020, 11:54 am
I wonder what made him choose Lame? I’d imagine she’s really good, but she hardly has any big films to her name, it always seemed like an odd choice to me.
Nolan must have saw something we didn't. Just like how he saw the Joker in Heath Ledger.

I think Lee Smith is bit of an ass to do 1917 over Tenet though.

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