Thank youInsomniac wrote: ↑October 9th, 2021, 7:08 amhttps://www.atomicheritage.org/profile/robert-serber
Oppenheimer - General Information
Posts: 1439
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October 2019
lol!A Borges man wrote: ↑October 9th, 2021, 4:59 pmThis is are all debatable claims my guy, that don't bare out when you watch the movies. You've come out before talking about the grades and palettes like your opinion is objective. For instance, Tenet is not "all brown, grays, orange, and yellow"; there is a whole scene bathed in primarily red and blue...the seafoam green of Dunkirk pops up in Tallinn and Italy stuff. Funny enough, Tenet might be Nolan's most muted and saturated film.Vader182 wrote: ↑October 9th, 2021, 2:37 pmMuted may be the wrong word, but those movies are comparatively drab... not in the sense of desaturation but in color selection and variance. Hoyte loves working with a limited, somewhat drab palette, much less naturalistic and varied than the warmer tones of Wally's work. He takes this to ugly extremes in Spectre.Tarssauce wrote: ↑October 9th, 2021, 1:39 pmWhat muted color palette? Interstellar, Dunkirk and Tenet all had very vivid and colorful sequences. Whenever I’m trying to recreate a look from Tenet or Dunkirk, I’m surprised how saturated the colors are.
A lot of times, it’s the sets themselves that are very muted. But no one really talks about production design much, do we?
Interstellar is mostly browns and oranges and grays, turns into a whites and grays, then the palette turns very dark inside the Tesseract. Primary colors are kept to a minimum, but sometimes (the corn stalks, fire) they pop.
Dunkirk is all heavy greens and some blues from start to finish.
Tenet is all browns, grays, orange and yellow. Compare the rich colors of the yacht scene in The Dark Knight to the yacht stuff in Tenet. It's intentionally pale in comparison.
This isn't a "better" or "worse" comparison per se, mileage varies. For my money, Dunkirk is equal to Inception as Nolan's best looking movie. I like most of Hoyte's work, but shot to shot Wally creates more beautiful compositions, imo, and I miss him sometimes. Especially on Tenet.
-Vader
Also, Hoytes compositions are more bold than Wally's, more textured, and have a level of movement that Wally's didn't have. You're on film twitter, you write for Roger Ebert, your hommies like Matt Zoller Sietz love to talk shit about the pre-Hoyte Nolan movies: quick cut, no movement, no use of the camera, drab, blocking hap hazard; but Sietz seems to have changed his tune after Interstellar? Wonder why?
Hoyte is a more sophisticated cinematographer. I love Wally, and I love his work on Nolan movies; but I can't get enough of Hoyte and Nolan together.
Not surprised Vader can't defend his own asinine observations.Allstar wrote: ↑October 9th, 2021, 7:52 pmlol!A Borges man wrote: ↑October 9th, 2021, 4:59 pmThis is are all debatable claims my guy, that don't bare out when you watch the movies. You've come out before talking about the grades and palettes like your opinion is objective. For instance, Tenet is not "all brown, grays, orange, and yellow"; there is a whole scene bathed in primarily red and blue...the seafoam green of Dunkirk pops up in Tallinn and Italy stuff. Funny enough, Tenet might be Nolan's most muted and saturated film.Vader182 wrote: ↑October 9th, 2021, 2:37 pm
Muted may be the wrong word, but those movies are comparatively drab... not in the sense of desaturation but in color selection and variance. Hoyte loves working with a limited, somewhat drab palette, much less naturalistic and varied than the warmer tones of Wally's work. He takes this to ugly extremes in Spectre.
Interstellar is mostly browns and oranges and grays, turns into a whites and grays, then the palette turns very dark inside the Tesseract. Primary colors are kept to a minimum, but sometimes (the corn stalks, fire) they pop.
Dunkirk is all heavy greens and some blues from start to finish.
Tenet is all browns, grays, orange and yellow. Compare the rich colors of the yacht scene in The Dark Knight to the yacht stuff in Tenet. It's intentionally pale in comparison.
This isn't a "better" or "worse" comparison per se, mileage varies. For my money, Dunkirk is equal to Inception as Nolan's best looking movie. I like most of Hoyte's work, but shot to shot Wally creates more beautiful compositions, imo, and I miss him sometimes. Especially on Tenet.
-Vader
Also, Hoytes compositions are more bold than Wally's, more textured, and have a level of movement that Wally's didn't have. You're on film twitter, you write for Roger Ebert, your hommies like Matt Zoller Sietz love to talk shit about the pre-Hoyte Nolan movies: quick cut, no movement, no use of the camera, drab, blocking hap hazard; but Sietz seems to have changed his tune after Interstellar? Wonder why?
Hoyte is a more sophisticated cinematographer. I love Wally, and I love his work on Nolan movies; but I can't get enough of Hoyte and Nolan together.
Posts: 1010
Joined:
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So hostile
Hey guys just imagine seeing a scene like this on IMAX in Nolan style with Ludwigs crazy music (orchestra mix with synth + bass)....This scene literally has everything Nolan is obsessed with, a countdown(time), the tension, the mention of music..Hopefully we will get a scene like this!
https://www.youtube.com/watch?v=emVaK5MoPBg
https://www.youtube.com/watch?v=emVaK5MoPBg
Posts: 635
Joined:
November 2014
Nolan hates smoking so much, I don't think he's going to be able to skip over the fact Oppenheimer was a heavy smoker and smoked all the time. Will he include it?
@a borges man its a treat to read you spend a good yarn about color in film mate 
Since this is described as an "epic thriller" I wonder if Nolan is adapting just a tiny portion of the book American Prometheus (which is over 700 pages long), sort of like what Kushner did with Spielberg's Lincoln - focusing on just a short, but crucial time period in the man's life.
Though I recall someone saying that the Variety article from last month mentioned that the film will also follow Oppenheimer’s later decision to call for more international control of nuclear weapons and his eventual opposition to the development of the hydrogen bomb. I could see most of the film playing out like a taut thriller, with the ending being a melancholic flashforward featuring Oppenheimer living in regret.
Though I recall someone saying that the Variety article from last month mentioned that the film will also follow Oppenheimer’s later decision to call for more international control of nuclear weapons and his eventual opposition to the development of the hydrogen bomb. I could see most of the film playing out like a taut thriller, with the ending being a melancholic flashforward featuring Oppenheimer living in regret.
Nicolaslabra wrote: ↑October 10th, 2021, 12:10 am@a borges man its a treat to read you spend a good yarn about color in film mate
Just bought the audio book for American Prometheus. Excited to dive in.
