Licorice Pizza - Speculation & General Reactions

Started by Fuzzy Dunlop, August 30, 2017, 12:58:10 PM

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Drill

Hmm...did you see him Wilber? They mentioned Benny as well in a previous tweet.

https://twitter.com/DomSalvaggio/status/1307906937632165888


wilberfan

Can confirm Cooper HOFFMAN in a white suit and red shirt.  Bradley is in Toronto.  Someone thought they saw Benny and Alana, but I didn't personally.

Rooty Poots

Hire me for your design projects ya turkeys! Lesterco

Alma

Put ya visor on properly Paul!

There's a few more pictures here and a video of the cars:


wilberfan

Quote from: Alma on September 21, 2020, 03:11:50 AM
Put ya visor on properly Paul!

Visor up like that is a very common sight on set during the new Covid protocols.  I don't remember the exact sequence, but I heard a radio call once that was something like, "Actors, masks off!  Crew, shields on!"   It might have something to do with being doubly safe when they're in close together?  Actors, no masks during a take--crew that's in close must have masks AND shields in place.  Something along those lines.

The first time you see crew wearing the shields reversed like that--especially at a distance--it looks like they're wearing top hats.

Alma

Quote from: wilberfan on September 21, 2020, 03:21:35 AM
Quote from: Alma on September 21, 2020, 03:11:50 AM
Put ya visor on properly Paul!

Visor up like that is a very common sight on set during the new Covid protocols.  I don't remember the exact sequence, but I heard a radio call once that was something like, "Actors, masks off!  Crew, shields on!"   It might have something to do with being doubly safe when they're in close together?  Actors, no masks during a take--crew that's in close must have masks AND shields in place.  Something along those lines.

The first time you see crew wearing the shields reversed like that--especially at a distance--it looks like they're wearing top hats.

Ah that makes sense! They do look kind of funny.

Tdog

Did anybody learn what format they are shooting in?

Didn't he hint at returning to anamorphic lenses?

Rooty Poots

Quote from: Tdog on September 21, 2020, 12:58:53 PM
Did anybody learn what format they are shooting in?

Didn't he hint at returning to anamorphic lenses?

All I know is he said he'd love to return to it again someday.
Hire me for your design projects ya turkeys! Lesterco

wilberfan

Do we understand what anamorphic means for him in terms of practical or aesthetic considerations?

Alethia

Didn't one of his camera crew say they were testing out a lot of the same lenses they used on Vice? I believe that was disclosed on the Phantom Thread Livestream Q and A...

pynchonikon

Quote from: eward on September 21, 2020, 02:57:16 PM
Didn't one of his camera crew say they were testing out a lot of the same lenses they used on Vice? I believe that was disclosed on the Phantom Thread Livestream Q and A...

It would make sense that they want to approach the IV aesthetic and look, even if filling Elswit's shoes won't be easy.

jzakko

Quote from: eward on September 21, 2020, 02:57:16 PM
Didn't one of his camera crew say they were testing out a lot of the same lenses they used on Vice? I believe that was disclosed on the Phantom Thread Livestream Q and A...

If Dan Sasaki could adapt Paul's old pathé lens for an anamorphic system, he can do it for any lens.

Heisenberg

IMDB page is saying aspect ratio is 2.35: 1. I know anybody could just put that there, but it might be true.

WorldForgot

Good thing iz, the odds are fair either way, considering the two aspect ratio's he's apt to use.

csage97

Quote from: wilberfan on September 21, 2020, 02:31:00 PM
Do we understand what anamorphic means for him in terms of practical or aesthetic considerations?

It's been some years since I've listened to the classic long podcasts with PTA, so I can't remember if it was Paul who brought up portraiture, or that the idea of portraiture was put in my head from analysis videos on PTA. But the 1:85:1 aspect ratio seems to aesthetically suit those films in which it's used in PTA's oeuvre, especially The Master and Phantom Thread. They decided to shoot The Master in 65mm, which put movement constraints on the camera because those are so large and presumably heavier, so the 1:85 suits the more stationary camera and things become more portrait-like or "photographic." And 1:85 suits Phantom Thread for obvious reasons.

The anamorphic ratio captures more width, plus has that lens distortion that's fisheye-like ... plus the oval bokeh and horizontal flares. Things end up having that "cinematic" look, or sometimes feel more surreal or larger-than-life (think Wes Anderson), rather than the more stately photographic look of the 1:85. I like the anamorphic format paired with the run-and-gun style of Paul's earlier days (all that steadicam). It's got a whole sprawling whirlwind thing to it.

So I reckon it's just a choice of style and feel. Just my thoughts, and sorry if I mansplained.