Movie Directors

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[on Kodak's new Super 8 camera] The news that Kodak is enabling the next generation of filmmakers with access to an upgraded and enhanced version of the same analogue technology that first made me fall in love with cinematic storytelling is unbelievably exciting. [2016]  

[on projecting on film vs. digital] It's got considerably better color reproduction and higher resolution when well projected. I think that people have in their minds, when they think of film projection, bad film projection - which isn't great, it's certainly true. But the highest quality film projection, you know, to my eye - and even in technical terms - exceeds anything digital projection is capable of. I think that, as far as standardizing the industry goes, then obviously digital is a powerful logistical tool for doing that and for keeping a consistent level of quality. But I don't see any reason we need to standardize. I mean, yes, it's cheaper. But the music industry doesn't standardize. No other industry standardizes. You know, Broadway plays don't standardize - you build the set you need and you configure the theater how you want it. We've had massive success on this film [Interstellar] with the theaters where we went in and literally put a projector in the booth and said, "Okay, for the run of this movie, this is how we're going to do it," you know, whether it was the 70 mm in the Chinese or 70 mm at the Cinerama Dome or whatever - those screens did incredibly well for us. People see it as an old-fashioned mentality, but it's not. It's about putting on a show for the audience in the venues where we can put on something special, something extraordinary. Yes, it requires money to do that, but if you can do it, why not? If it can pay for itself, why not?[on the costs of shooting on film vs. digital] As far as the cost, it's a complete fallacy. I'm making my films cheaper than anybody working at the same scale on digital. There are no efficiencies to be gained there and no money to be saved. There's been an aggressive fight against photochemicals by companies who make money by change. They make money by selling you new equipment and building new equipment. The studios saw an opportunity to stop paying as much for release prints and follow more of a television model where you're broadcasting films rather than physically shipping them. But all of that's irrelevant. I gave a speech some years ago where I was asked to defend film, and I said that I felt like a stonemason defending marble. It's ridiculous. This is why we're all here. It's what we do. This is film. Every digital format so far devised is just an imitation of film. [2017]

Film is Magic

TOO LATE THE MOVIE

Even today no digital video image looks better than celluloid film 

I sat down with winner of Best Director and Best Debut Feature at the 2015 Venice Film Festival, Brady Corbet to discuss his dark, chilling, and incredibly ambitious directorial debut, 'Childhood of a Leader.'

And his passion of shooting movies on celluloid film. And why we should keep film alive.

Writer / Director Brady Corbet are interviewed for their movie Vox Lux which stars Natalie Portman, Jude Law, Stacy Martin & Raffey Cassidy. The film also stars Jennifer Ehle, Christopher Abbott and Logan Riley Bruner. 

Director ,Cinematography