https://www.reddit.com/r/AnalogCommunity/comments/1c2ikgf/war_photography_with_a_film_camera_in_civil_war/?rdt=51541

On the topic of war photography and format.

QuoteIf I remember correctly, we only see her use a single lens (a 50mm on the F2), so I imagine the aperture and shutter varied but within normal ranges. Dunst's character, using a Sony α7, uses a variety of lenses, from an intense zoom lens to a Leica Summilux (might have been Summicron, the close up shot was quick and near the start of the film). Most of the film she's using that Leica, which I believe was a 50mm, so the two characters capture similar shots (which fits the nature of their relationship in the film).

As for real war photographers, there is documentation out there. Some film stocks were developed specifically for military use, as were some cameras, but with journalism Leica rangefinders were the norm for a lot of midcentury conflicts, moving into more Canon/Nikon during Vietnam.

QuoteWhat speeds, what settings? Well, you'd want good depth of field and a high shutter speed. So faster the better. Looking at James Nachtwey, for example, I suspect he pushed his black and white. In 2002-3, I used to regularly buy Fuji Press 800 film, which was made for photojournalists. I shot weddings with T-Max 3200. Weddings aren't war, but there were some similar considerations.

"Might as well be random."
Echoes of AMLO's mañanera...

More dystopian AU than parallel fiction or reality. Hard for me to read it as a 'satire' even, there are definitely funny elements to the American-fracture that Garland describes but it feels like an entrenched setting, building off sheer but efficient decor.

I think it's salient, and a fun 'prestige' inversion on a wellworn B-movie or pulp genre setting.

"This was a TV special made for Showtime Networks to promote the Showtime Premiere of "The Blair Witch Project." It was the first thing I was ever hired to direct, and to this day it's one of the strangest ideas of mine that anyone's ever green-lit."

Basso ostinato.


Gazing into fading light; aware of coming dusk and night. Tension—terror slithers in darkness. // Superimposition : Alana is the fading light. Do not go gentle into that good night!


Cooper. What's that? God, my heart is pounding.
Alana. Oh s**t. It's him.


Cooper watches in horror as his past and future catch up to him.


Heroic fanfare of synaesthetic lights : confidence, concentration, dominance. A behemoth taking baby steps—one minor blip and the whole game's up.


Alana. God, I feel your heart pounding.
Cooper. Pay attention.

Quote from: Find Your Magali on April 02, 2024, 10:23:42 PMI'm thinking you could absolutely have made a Cabin Fever/The Hitcher type horror film with Alana and Cooper being terrorized by Bradley.

Ohh, I'd actually love to see PTA make that kind of a horror film.

I'm thinking you could absolutely have made a Cabin Fever/The Hitcher type horror film with Alana and Cooper being terrorized by Bradley.

1:25:13–1:34:12

What if we receive the following images not from Licorice Pizza but as if from a serious hardcore action picture? Are the shots convincing in that alternate context?











In retrospect—the Truck scene may be absorbed as an "out-of-town" tryout for PTA's next?

Sick list. I've seen a good half to maybe 3/4-ish of what's on there (shoutout Meshes of the Afternoon and Funeral Parade of Roses :D) <3<3

The most delicious irony of all would be if it becomes such a box office success that the Academy shuns it.