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PostPosted: Mon Nov 27, 2017 4:30 pm 
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HitchcockLang wrote:
The photography looks quite lovely in the trailer. If it were to get a cinematography nomination, who would they nominate if there is no credited DP?

It won't get a cinematography nomination. To submit a film for consideration in the "general entry" categories, the producer or distributor submits a form with a field for each category reflecting the screen credit (except for the Score, Song, and Visual Effects categories, which have different rules). If there's no screen credit for a particular role, then the film isn't eligible in that category.


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PostPosted: Mon Nov 27, 2017 4:31 pm 
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If anything, it probably just increases the odds (though maybe not in a measurable way depending on how the winds are blowing) that Anderson receives a Best Director nomination.


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PostPosted: Tue Nov 28, 2017 1:09 am 
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phantomforce wrote:
Very surprised that Johnny Greenwood was able to turn in such a wonderful score.. its just pure class.

Is this surprising? His work on PTA's previous films has been fantastic.


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PostPosted: Tue Nov 28, 2017 2:08 am 

Joined: Sun Jul 28, 2013 2:01 am
From what I remember his work before leaned on the drone / heavy effects / ambient.. body song might have been more ambitious but the score in Phantom Thread is something you’d probably mistake coming from Bernstein or Herrmann without sounding like a knockoff.


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PostPosted: Tue Nov 28, 2017 4:08 am 
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The gaffer is credited as "lighting cameraman" -- this is the traditional British term for director of photography. John Alcott had that credit on A Clockwork Orange, for instance, and Doug Milsome had it on Full Metal Jacket. Whether it's campaigned for is one thing, but there is a DP credit on the picture.


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PostPosted: Tue Nov 28, 2017 3:15 pm 
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W Magazine has published an exclusive interview with Daniel Day-Lewis where he confirms his retirement.


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PostPosted: Tue Nov 28, 2017 3:26 pm 
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Fascinating snippet from that interview which makes me feel overwhelmingly curious about this film in a way I wasn't before:

Quote:
"If a poet is not self-absorbed, what else is he?"

Day-Lewis paused.

"Before making the film, I didn't know I was going to stop acting. I do know that Paul and I laughed a lot before we made the movie. And then we stopped laughing because we were both overwhelmed by a sense of sadness. That took us by surprise: We didn't realize what we had given birth to. It was hard to live with. And still is."

Day-Lewis has not seen Phantom Thread. He has viewed many of his other films, but has no plans to see this one.


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PostPosted: Tue Nov 28, 2017 3:40 pm 
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Lewis is apparently quite superstitious (On the Red Carpet even no less). Whether that plays a role here I don't know. But there seems to be a great deal of emotion in this film for him (Who could have guessed?) That makes me hyped to see it even more.

Y'all need to stop hyping this up because it's gonna be months before I can see it.


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PostPosted: Tue Nov 28, 2017 3:42 pm 
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LQ and I are driving to New York City on Christmas Day to see it. Some convenient timing of family functions allowed for it, but still, it feels totally hedonistic


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PostPosted: Tue Nov 28, 2017 3:59 pm 
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Any more hedonistic than American Christmas how?


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PostPosted: Tue Nov 28, 2017 4:00 pm 
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Touché, but this is just to please ourselves, not our extended families. Although, they DO get to hear us talk about Phantom Thread for weeks afterward, probably.


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PostPosted: Wed Nov 29, 2017 12:51 am 

Joined: Sun Oct 14, 2007 5:31 am
Music Box in Chicago confirmed that they'll be screening a 70mm blowup in January.


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PostPosted: Sun Dec 03, 2017 5:14 pm 
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I was lucky enough to catch a last minute screening of this. More direct and straightforward than his recent work which may be why I found it more affecting too (albeit with a dark dimension to it). Wonderful, it did not disappoint.


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PostPosted: Sun Dec 03, 2017 5:22 pm 
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Jealous - your three sentences are perhaps the ones that have gotten me the most energized about this film so far. We're currently between deciding to just book a couple of Christmas Day tickets at AMC Lincoln Square while the good seats are available or wait and see if it's going to be playing at a more appealing theater (cough... Village East... cough)


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PostPosted: Sun Dec 03, 2017 6:55 pm 
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mfunk9786 wrote:
Jealous - your three sentences are perhaps the ones that have gotten me the most energized about this film so far. We're currently between deciding to just book a couple of Christmas Day tickets at AMC Lincoln Square while the good seats are available or wait and see if it's going to be playing at a more appealing theater (cough... Village East... cough)
I'd wait another week then book it.
hearthesilence wrote:
I was lucky enough to catch a last minute screening of this. More direct and straightforward than his recent work which may be why I found it more affecting too (albeit with a dark dimension to it). Wonderful, it did not disappoint.
Image


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PostPosted: Thu Dec 07, 2017 1:37 pm 
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The review embargo has lifted and reviews are more effusive than I could have imagined. In the early offing, it has a 100 score on Metacritic and glowing pull-quotes galore


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PostPosted: Thu Dec 07, 2017 2:38 pm 
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mfunk9786 wrote:
The review embargo has lifted and reviews are more effusive than I could have imagined. In the early offing, it has a 100 score on Metacritic and glowing pull-quotes galore


Which will make the wait all the worse for me. Pleased to see it come out so strong (Not that I expected it to crash and burn) after all the mystery surrounding it. I imagine I'll have to wait a few months but it should be great!


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PostPosted: Fri Dec 08, 2017 2:09 pm 

Joined: Thu Apr 24, 2014 9:36 pm
My local Alamo just posted about showings of the film in 70mm. Seems as if a handful of theaters will be showing the film in 70mm


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PostPosted: Fri Dec 08, 2017 2:40 pm 
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Self wrote:
My local Alamo just posted about showings of the film in 70mm. Seems as if a handful of theaters will be showing the film in 70mm

Having seen this last month on 35mm, I will most definitely be re-watching this on 70mm as the photography is easily among the best of his PTA's films. I'm glad the Arclight in Los Angeles is doing their third PTA film in a row on 70mm as it also turns the film into a sort of event.


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PostPosted: Fri Dec 08, 2017 4:50 pm 
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It looks like it will be opening here in Boston on January 12. The Landmark-Kendall Square and Coolidge Corner Theaters' websites already have pages up for it. Hopefully the Coolidge or Somerville Theater will get a 70mm print since they have a great track record of showing his films in that format.


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PostPosted: Fri Dec 08, 2017 4:52 pm 
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But if it wasn't shot on 70mm, I don't really see the point of exhibiting a 70mm blow-up. There will be maybe slightly less grain?


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PostPosted: Fri Dec 08, 2017 4:57 pm 
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The quality of the image will arguably be improved if for no other reason than it will be projected on film as opposed to digitally. I could be mistaken but the level of grain would be dictated by how the film was shot, no? In 2014 I saw a 70mm blow-up of Inherent Vice, which was shot in 35mm, and it looked quite grainy because that's the way the film was shot.


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PostPosted: Fri Dec 08, 2017 5:06 pm 
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It looks like some 35mm prints are being distributed as well.

The level of optical grain increases with each printing step (negative > interpostive > duplication negative > release print) because of the grain inherent in the film stock. Using 70mm for the release print is still going to have all the grain of the three previous generations, but the grain in 70mm will be finer, so there will be a slight reduction in the overall graininess of the image. A good digital projection (4K) might actually have less (optical) grain than a 70mm print because it will probably have been transferred directly from the negative or interpositive.

The release prints (on film) could also be produced digitally, which would reduce optical grain, but introduce all the artifacts and compression issues of the digital realm.


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PostPosted: Fri Dec 08, 2017 5:39 pm 
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Werewolf by Night wrote:
It looks like some 35mm prints are being distributed as well.

The level of optical grain increases with each printing step (negative > interpostive > duplication negative > release print) because of the grain inherent in the film stock. Using 70mm for the release print is still going to have all the grain of the three previous generations, but the grain in 70mm will be finer, so there will be a slight reduction in the overall graininess of the image. A good digital projection (4K) might actually have less (optical) grain than a 70mm print because it will probably have been transferred directly from the negative or interpositive.

The release prints (on film) could also be produced digitally, which would reduce optical grain, but introduce all the artifacts and compression issues of the digital realm.

The grain will be finer, but I recall someone telling me that with a 35mm blow-up of a 16mm film, you also get the advantage of outputting more light through the film, so I'm wondering if that is true of 70mm blow-ups of 35mm films as well?


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PostPosted: Fri Dec 08, 2017 8:49 pm 

Joined: Sun Jul 28, 2013 2:01 am
35mm is probably the way to go as that is what PTA must have had in mind when shooting and it's the way he screened it for the first stateside audiences. There are certainly some beautiful, sweeping scenes but most of the film was shot very tight and up close so I don't really feel like there is any major benefit to having a 70mm print unless its simply to accommodate the aspect ratios of most cinemas (the theatre we saw the film at was an older art house theatre, nothing like the screens at a cineplex or an arc light.) The print we were shown though was indeed quite dark and very grainy but it had a lot of character and definitely felt like you were watching something that had some age to it. I will say, the sound in the 35mm presentation was incredible. Powerful and dominating, almost mono-like but perfectly complimented the film print.


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