I reiterate that this could be very much like "The Lost World: Jurassic Park," which was right after Amistad and Schindler's list. I keep picturing Spielberg on location in the jungle, with everyone looking at him waiting for him to tell them what to do... "Steven, should we use the crane to get a glimpse of the raptors?" "What? Oh, um...let me think about that..." (*THINKS*) What the hell am I doing here? What is all this anyway? Dinosaurs? Who cares? I want to make a bloody World War II movie, not this popcorn crap I already made.
All I know is that seeing that Short Round picture puts me in a bad mood. Talk about conditioning.
March 01, 2006 9:20 AM
Anonymous said...
I should say, sir, that you know a great deal more than that. (Everyone laughs, sips sherry; cigars are lit)
But seriously, you know what I mean? I'm trying to imagine Januz Kaminsky forcing himself to photograph a movie in that super-bright, saturated Dean Cundey style. Can Spielberg talk him into putting the rest of the color back in? I'm trying to picture Indy with the 70% desaturated image and the vertically-bleeding overexposure flares. And I can't.
Spielberg hired Polish cinematographer Januz Kaminski for "Schindler's List," probably because he wanted a Pole and he wanted a different look for his black-and-white opus. They both won lots of Oscars, and, ever since, Kaminski has photographed every single Spielberg movie. Before that, Spielberg used a host of different cinematographers including Dean Cundey, of "Roger Rabbit" fame, who is known for creating a bright, saturated, vacation-post-card look. In the nine movies Kaminsky and Spielberg have done together, a certain style has emerged, based largely on the "Private Ryan" innovation of sucking 70% of the color out of the image during digital color timing. Not every Spielberg/Kaminski movie looks this way, but, for example, War of the Worlds has this same look. Another Kaminski trademark (also introduced in Private Ryan) is the "blown-out" flare or overexposure, which, given their use (in Private Ryan) of uncoated lenses and no filters at all, created a lot of vertical bright streaks coming off the images' highlights. Hence my above remarks.
On the other hand, I don't the cinematography was the problem with Lost World. A bleached-out Indy might lend a Peter Jackson-ish quality to the stuff, which could be good, since Raiders etc. was born from that Newsreel vibe.
March 01, 2006 10:02 AM
Anonymous said...
I swear 9/10ths of it is just reading the credits carefully. :)
For example, "Screenplay by Stanley Kubrick and Arthur C. Clarke," where Clarke has been deliberately pushed out of his alphabetical position at the top. It gets me thinking and then I do some research (mostly standing around in the "Film" section of the bookstore for years until somebody says, "Hey, kid, this isn't a library.")
"Hey, kid, this isn't a library" I got that in comic book stores a lot. That's why I love Borders and similar book stores/coffee shops. I read about $50 worth of magazines every time I go there.
March 01, 2006 10:11 AM
[Image] From moviesonline, "Steven Spielberg, director of such films as "Jaws", "Saving Private Ryan" and "War of the Worlds", sat down with Yedioth Ahronoth newspaper to discuss the controversaries that surround his latest film "Munich". Within the interview, he confirms that he will indeed be involved with the "Indiana Jones 4" project. "I am about to make "Indiana Jones 4", which is, as far as I am concerned, the sweet dessert I give those who had to chow down on the bitter herbs that I've used in Munich," Spielberg says. Our latest reports have Virginia Madsen playing Harrison Ford's love interest, but nothing on that piece has been confirmed as of yet.
Sixteen rumor-filled years after the third entry in the Indiana Jones saga, the fourth film finds series regulars Harrison Ford, Steven Spielberg, and George Lucas returning along with Sean Connery, who was introduced as Henry Jones, Sr. in 1989's Indiana Jones and The Last Crusade. Following the continuing adventures of an aging Indiana Jones in the 1950s, the film finds Frank Darabont (The Shawshank Redemption) assuming screenwriting duties this time around, delivering a script based on an original idea by Lucas.
Additionally, Indy's love interests from the first two films, Karen Allen and Kate Capshaw, pop up in cameo roles."
"Spielberg promises that Indy 4 is on his radar"
10 Comments -
I don't know. I just don't know...
I reiterate that this could be very much like "The Lost World: Jurassic Park," which was right after Amistad and Schindler's list. I keep picturing Spielberg on location in the jungle, with everyone looking at him waiting for him to tell them what to do... "Steven, should we use the crane to get a glimpse of the raptors?" "What? Oh, um...let me think about that..." (*THINKS*) What the hell am I doing here? What is all this anyway? Dinosaurs? Who cares? I want to make a bloody World War II movie, not this popcorn crap I already made.
And. um, Indy 4 could be kind of like that.
March 01, 2006 9:12 AM
All I know is that seeing that Short Round picture puts me in a bad mood. Talk about conditioning.
March 01, 2006 9:20 AM
I should say, sir, that you know a great deal more than that. (Everyone laughs, sips sherry; cigars are lit)
But seriously, you know what I mean? I'm trying to imagine Januz Kaminsky forcing himself to photograph a movie in that super-bright, saturated Dean Cundey style. Can Spielberg talk him into putting the rest of the color back in? I'm trying to picture Indy with the 70% desaturated image and the vertically-bleeding overexposure flares. And I can't.
March 01, 2006 9:24 AM
Jordan, what the hell are you talking about?
March 01, 2006 9:34 AM
Spielberg hired Polish cinematographer Januz Kaminski for "Schindler's List," probably because he wanted a Pole and he wanted a different look for his black-and-white opus. They both won lots of Oscars, and, ever since, Kaminski has photographed every single Spielberg movie. Before that, Spielberg used a host of different cinematographers including Dean Cundey, of "Roger Rabbit" fame, who is known for creating a bright, saturated, vacation-post-card look. In the nine movies Kaminsky and Spielberg have done together, a certain style has emerged, based largely on the "Private Ryan" innovation of sucking 70% of the color out of the image during digital color timing. Not every Spielberg/Kaminski movie looks this way, but, for example, War of the Worlds has this same look. Another Kaminski trademark (also introduced in Private Ryan) is the "blown-out" flare or overexposure, which, given their use (in Private Ryan) of uncoated lenses and no filters at all, created a lot of vertical bright streaks coming off the images' highlights. Hence my above remarks.
March 01, 2006 9:45 AM
Jordan, you took my bait this time! I hope you know I was just joking =) How in the world do you know this stuff?
March 01, 2006 9:50 AM
Oh, suuuuuuure you were joking.
March 01, 2006 9:59 AM
On the other hand, I don't the cinematography was the problem with Lost World. A bleached-out Indy might lend a Peter Jackson-ish quality to the stuff, which could be good, since Raiders etc. was born from that Newsreel vibe.
March 01, 2006 10:02 AM
I swear 9/10ths of it is just reading the credits carefully. :)
For example, "Screenplay by Stanley Kubrick and Arthur C. Clarke," where Clarke has been deliberately pushed out of his alphabetical position at the top. It gets me thinking and then I do some research (mostly standing around in the "Film" section of the bookstore for years until somebody says, "Hey, kid, this isn't a library.")
March 01, 2006 10:04 AM
"Hey, kid, this isn't a library" I got that in comic book stores a lot. That's why I love Borders and similar book stores/coffee shops. I read about $50 worth of magazines every time I go there.
March 01, 2006 10:11 AM