Darius Khondji's stake in Chris Doyle's territory
Posted 05 April 2009 - 02:21 AM
Posted 06 April 2009 - 12:20 PM
So anyone know how Khondji ahieved the look of My Blueberry Nights, the Wong Kar Wai film? The grain was immense and beautiful. The scenes seemed to be shot very close with telephoto lenses and available lights. But that grain and those blacks? Perhaps it was just my first time seeing a print of Khondji's work, but did he ENR this as his earlier work on Seven and Delicatessen? How did he get that grain, and is this the end of Doyle's collaboration with WKW?
Khondji shot with fuji eterna, which is a bit grainy naturally. I suppose they pushed the film for the int. night scenes and lit mostly with practical, giving those deep blacks and this large grain. It's just a guess but Doyle used push processing a lot with WKW before so...
I like the grain of the fuji stocks, it can be really nice. So fuji stocks and push processing are certainly the cause of this it. As well, I like large grain like that, especially what Kubrick did for Eyes Wide Shut & Barry Lyndon, pushed with kodak stocks or The Brown Bunny by V. Gallo shot in 16mm.
Those night scenes in My blueberry nights were really beautiful. But those by day were too saturated for me, especially the very blue sky.
They also did a DI, certainly to match the saturation between everything. But as you can do almost everything with a DI, there's a lot of possibilities, also concerning the blacks you liked in the movie..
Don't know if it's the end of their collaboration. But after 2046, Doyle said that WKW was always doing the same movie so maybe he wasn't interesting by doing My blueberry nights...
Posted 08 April 2009 - 07:36 PM
I remember thinking that if the master zoom and the O'Conner fluid head were good enough for DK, then they would be good enough for me.
Edited by Jon Rosenbloom, 08 April 2009 - 07:38 PM.