quote: John Wilson

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because he hated the Pan and Scan of the way they ended up on video and TV.

I guess DVD has changed his way of thinking?

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quote: David Stambaugh

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Is it real scope or Super35?

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quote: John Wilson

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He was once in an interview where he said he didn't shoot in scope anymore because he hated the Pan and Scan of the way they ended up on video and TV.

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quote: Michael Coate

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nor do I remember the exact issue number, but it was early 2000 ("The Bone Collector" on the cover).

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Volume 9, Number 2, Issue 37 March/April 2000
 

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Posted by Bobby Henderson (Member # 840) on 04-27-2005, 10:04 PM:
 
I watched "The Interpreter" Monday night. I was surprised this wasn't just another Super35 film. Not only was the film shot in real 'scope. Sydney Pollack took advantage of the anamorphic format's oddities for good effect. There was a rack focus telephoto lens shot of Nicole Kidman walking toward the camera inside the U.N. The exaggerated depth of field made the shot go from a vertical blur to razor sharp (and no visible grain) in quick instant. Nice punctual feel to that, to add to the dramatics.
 

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Posted by Pravin Ratnam (Member # 1417) on 05-02-2005, 02:27 PM:
 
Place a review Bobby. This movie seems to be the rare #1 movie not to have been reviewed by anybody in the Film Reviews forum.
 

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Posted by Bill Gabel (Member # 1105) on 09-19-2005, 12:11 PM:
 
On the DVD in the bonus features of "The Interpreter", Sydney Pollack talks about the use of scope vs. pan & scan. And that he favors the use of shooting films in scope to tell the story.
 

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Posted by Andy Summers (Member # 3207) on 09-19-2005, 05:35 PM:
 
John’

Hears some information on the film The Interpreter
http://www.theasc.com/magazine/may05/interpreter/page2.html
TECHNICAL SPECS
Anamorphic 2.40:1
Arricam Studio,
Arri 435,
Arri 35-3
Cooke lenses
Kodak Vision2 Expression 500T 5229,
Vision2 100T 5212
Digital Intermediate by
EFilm

Though I’m not a total “Sydney Pollack” fan so to speak, I only have I think it’s one film Out of Africa which I only got best sound achievement recorded and released in (Dolby Stereo) which sounds awesome via the home THX, so is his new film “The Interpreter” has it got a good involving soundtrack, as I can guess it’s mostly dialogue with subtle ambient sounds and the occasional high dynamics.

I’m tried after looking for that information on the visual side, as (Super 35) sucks and I have a few or more than a few titles need I say what they are, anyway who’s done the sound mix for “The Interpreter” who are the re-recording mixers?

"Three Days of the Condor" now there’s a film I like to get hold off directed by “Sydney Pollack” damn when’s there going to be a region 2 DVD release was it filmed in flat 1.85:1, like “All the Presidents Men” also “Sydney Pollack” makes the odd cameo appearance….
________________________________________________________________

Michael’

You do Widescreen Review) damn good magazine, I like the information one what you get on the films technical specifications like aspect ratios and sound presentation.

Yeah MAN "Out of Africa" in scope 2.35:1 tasty any day mate, trail and error, what can I say…
________________________________________________________________
Bobby’

Man you’ll be surprised just how many films I turn my nose up at, ok so I have a few super 35 ones like giant RATS they are, there’s just no stopping them, and when I pick a DVD up the first two things I’m looking for in no order is Aspect ration and sound.

But when I see 2.35:1, I’m thinking to myself is this the real McCoy or is it another “TOP GUN” hence (Super 35) and when I get it home and carefully looking at it looking for tell, tell signs.

If the distributors said this film was filmed in (Super 35) 2.35:1 would DVD sales decline, on a technical issue?
 

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Posted by Mark Gulbrandsen (Member # 72) on 09-20-2005, 08:15 AM:
 
Actually Super 35 when done properly actually looks better than anamorphic. It provides better depth of field than the equivelent anamorphic camera lens will. I have run alot of Super 35 Dailies and most of them look great, "True Lies" in particuluar lokoed magnificent as did its 70mm release prints!. Its in the lab where careless handling causes the format to fall apart. Yes, even the labs have bad film handlers.

Mark
 

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Posted by Andy Summers (Member # 3207) on 09-20-2005, 08:46 AM:
 
Mark’

I have “True Lies” on laserdisc 2.35:1, and I have seen a televised version in the past where there was more bottom part of the frame exposed with less side field view of the visual image, due to cropping of the sides.

So when you look at (Pan & Scan) of a true “anamorphic” film there is a whole lot of the visual splendour missing.

When you look at a (SUPER 35) print “Pan & Scan,” there’s not a whole lot missing only the sides, marginally cropped but the bottom part of the frame is exposing more and looking slightly different, there is “APOLLO 13” where it is imprinted in my mind where the astronauts are getting strapped in and seeing more of the bottom part of the image….

Anyway I don’t what talk about this any more as its depressing…….
 

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Posted by Andy Summers (Member # 3207) on 09-27-2005, 07:31 PM:
 
Today I bought two “Sydney Pollack” films on DVD “Out of Africa” Special edition, which I all ready have so now I have to versions both look different in terms of aspect ration starting with chapter (2) where there’s slight shrinkage of the frame on the first edition, also the colour in tone and depth of field is clearer in the newer transfer, the sound mix is now in 5.1 or six-track Dolby with DTS, with the first edition the Dolby mix was 4.1 left centre right, mono surround, and the sub bass LFE.

The newer version as a more open feel to it and the atmosphere of “John Barry” score is totally indispensable.

Now the with the much talked about film “The Interpreter” this set the tone with James Newton Howard’s score placing me in an uneasy mood, alone with “Sydney’s” direction the use of sound told me this was going to look good and sound good, the framing was nice to see, the 2.35:1 Scope, not widescreen W/S which is how some projectionists Interpret it.

The style and pace for this story had me thinking, and feeling suspicious of some of these characters and as the film unveiled it self before my eyes all was revealed there was one thing I noted was the assignation attempt towards the end, it somehow reminded me of “STAR TREK VI The Undiscovered Country” where the assassin is assembling the rifle, and cutting out the glass, and the surprise of one of the UN officials enters the room, “I knew it.”

It’s not always I breakout the tissues, yeah it made me cry, anyway “Sydney” well done.

Now when is “Three Days of the Condor” going to be realised on DVD region 2, and I sure it’s 2.35:1 (scope).

Now tell me if I’m seeing things but there’s a scene in “The Interpreter” before the bus blows up, where there’s a location that looked like it was used in “Three Days of the Condor,” and though I’ve only seen this film twice and not for the last 10 to 14 years, it’s a location used in the opening of “Three Days of the Condor” where that nutter dressed up as a postal work and armed to the teeth with a machine gun.

So does anyone remember it?

Now I’m watching the Bones extras on “The Interpreter” where “Sydney” is showing us the A&B differences and I agree with “Sydney” P/S pan & Scan, really does ruin a scope film dramatically with windscreen films W/S 1.85:1 there’s just a little of the artists visual intention is taken away, but scope is a big deal, when television came about in the 1950’s film thought back the only way they can with wider lenses big screens that went beyond TV with supporting fanfare.

And films like “Casablanca” which is in the academy ratio look fine, way before W/S, scope, 70mm and IMAX.

Also did anyone noticing the cameo roll played “Sydney Pollack” just like in ”Tootsie” is there any more films where he plays cameos?


 

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Posted by Christian Appelt (Member # 1067) on 09-28-2005, 07:52 AM:
 

quote: Andy Summers

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Hears some information on the film The Interpreter
http://www.theasc.com/magazine/may05/interpreter/page2.html
TECHNICAL SPECS
Anamorphic 2.40:1
Arricam Studio,
Arri 435,
Arri 35-3
Cooke lenses
Kodak Vision2 Expression 500T 5229,
Vision2 100T 5212

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