Nos últimos meses, a atenção mediática, em torno de formatos analógicos na Sétima Arte, discursou sobre os profissionais que continuam a eleger a película como principal suporte de trabalho, os méritos e peculiaridades das projecções em 70mm (com PHANTOM THREAD em destaque), novas perspectivas sobre restauro de Cinema Mudo e o elogio aos projeccionistas de película.
"IndieWire spoke to the 10 cinematographers about the visual impact of shooting on Kodak film."
Bill Desowitz, in 10 Cinematography Masters Who Love Celluloid, from 'Dunkirk' to 'Wonder Woman', IndieWire.
"For now, 70mm is easing its way back into the mainstream, but thanks to the dedication of organizations life TIFF, hopefully the resurrection of the medium is pushed a little further into the light."
Andrew Parker, in TIFF showcases the rarity and resurgence of 70mm film, The Gate.
"I think there's a real renaissance to what film is. It’s another tool that we have that we shouldn’t give up. It's another paintbrush. Why should we be limited to one tool?"
Ed Lachman, citado por Carolyn Giardina, in From 'Dunkirk' to 'The Post,' Some Key Oscar Contenders Relied on Film, The Hollywood Reporter.
"Shot in 35mm, it was Anderson’s original intention to shoot the film so that he got a particularly fine grain image that he could easily blow up to 70mm."
Chris O'Falt, in Why the ‘Phantom Thread’ 70mm Screenings Are a Unique Experiment That Could Look Significantly Different, IndieWire.
"We really wanted to close the loop with silent film preservation and restoration(...) We were, in a sense, giving back, and giving these films back to the world."
Mick LaSalle, in Silent Film Fest expands into preservation, San Francisco Chronicle.
"La disparition des projectionnistes n’a pas fait de bruit. Silencieux et discrets, jusqu’au bout."
Valère Gogniat, in La mort silencieuse des projectionnistes, Le Temps.
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