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‘A Complete Unknown’: Read The Screenplay That Plugs Into The Moment Bob Dylan Became An Icon
‘A Complete Unknown’: Read The Screenplay That Plugs Into The Moment Bob Dylan Became An Icon
Deadline
Deadline
2d
film
interview
new york
production
searchlight
oscars
cannes
2d
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Marianne Jean-Baptiste and Aunjanue Ellis-Taylor Talk ‘Hard Truths,’ ‘Nickel Boys’ and Bold Creative Swings | Visionaries
Marianne Jean-Baptiste and Aunjanue Ellis-Taylor Talk ‘Hard Truths,’ ‘Nickel Boys’ and Bold Creative Swings | Visionaries
The Wrap
The Wrap
3d
film
interview
production
oscars
cannes
3d
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The Last Time It Fell Apart I Felt It Was Not Going To Ever Happen.’ Robert Eggers Gets Real About Nosferatu Getting Canceled Before It Could Get Off The Ground Many Times
The Last Time It Fell Apart I Felt It Was Not Going To Ever Happen.’ Robert Eggers Gets Real About Nosferatu Getting Canceled Before It Could Get Off The Ground Many Times
CinemaBlend
CinemaBlend
3d
film
interview
production
disney
oscars
cannes
3d
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Kate Beckinsale Shares Stories of Mistreatment on Set in Support of Blake Lively
Kate Beckinsale Shares Stories of Mistreatment on Set in Support of Blake Lively
MovieWeb
MovieWeb
5d
film
interview
los angeles
legal
netflix
oscars
cannes
5d
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Why 'The Brutalist' Should Be Seen in VistaVision and 70mm
IndieWire
film
review
production
cannes
Story by Jim Hemphill
Image from IndieWire
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Todd Field's upcoming art-house epic 'The Brutalist' brings back the long-forgotten VistaVision format for an immersive cinematic experience.
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Cinematographer Hoyte van Hoytema shot 'The Brutalist' on vintage VistaVision cameras, a format last used in major films during the 1950s and 60s.
Director Todd Field is insisting the film be shown in 70mm projection to fully capture the format's higher resolution and distinct visual properties.
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Todd Field, Hoyte van Hoytema, VistaVision, The Brutalist
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