The Good German (Steven Soderbergh, 2006)
- Jeff
- Joined: Tue Nov 02, 2004 9:49 pm
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The Good German (Steven Soderbergh, 2006)
Last edited by Jeff on Sun Sep 07, 2008 9:11 pm, edited 2 times in total.
- flyonthewall2983
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- Antoine Doinel
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Cate Blanchett offers some interesting bits of info in a brief Q&A with NY Mag:
[quote]Cate Blanchett: Highbrow Brilliant
By Emma Rosenblum
What was Soderbergh like as a director?
The Good German is a highly stylized noir piece, so he'd written this little one-page manifesto for us that began, “Dear Thespian,â€
[quote]Cate Blanchett: Highbrow Brilliant
By Emma Rosenblum
What was Soderbergh like as a director?
The Good German is a highly stylized noir piece, so he'd written this little one-page manifesto for us that began, “Dear Thespian,â€
- Matt
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- Len
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As long as we're speaking Soderbergh posters, I'm a big fan of The Limey poster myself. But I do love the Good German poster too, wouldn't mind getting one for my wall (if I had space for one that is).
The film looks really good too, as do George's teeth. Wouldn't want to have to wait for the dvd, hopefully it gets a theatrical release over here at some point.
The film looks really good too, as do George's teeth. Wouldn't want to have to wait for the dvd, hopefully it gets a theatrical release over here at some point.
- Fletch F. Fletch
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- Jeff
- Joined: Tue Nov 02, 2004 9:49 pm
- Location: Denver, CO
Here is another Casablancaesque still. The official site is up, but has nothing on it apart from some more cool key art.
Does anyone know how Soderbergh went about shooting this in black and white? There are a few ways to do it.
a.) Shoot on actual black and white stock. (Schindler's List)
b.) Shoot on color stock and print to high-contrast black and white. (The Man Who Wasn't There)
c.) Shoot on color stock and digitally color time to black and white. (Good Night and Good Luck)
d.) Shoot on HD Digital.
I'm guessing that option (a) would be the one most likely to make the film look like it was shot in 1945, which certainly seems to be what he's going for here, but that is so rarely done anymore. Also, IMDb (which I realize is wrong more often than right) lists the aspect ratio as 1.66:1. Since no theaters in the U.S. regularly project at this ratio, and most mainstream ones are not even equipped to do so, I'm guessing that he has hard-matted a 1.66 image within a 1.85 frame. Probably a compromise between Soderbergh wanting to do it in academy ratio and the studio saying "no way."
Does anyone know how Soderbergh went about shooting this in black and white? There are a few ways to do it.
a.) Shoot on actual black and white stock. (Schindler's List)
b.) Shoot on color stock and print to high-contrast black and white. (The Man Who Wasn't There)
c.) Shoot on color stock and digitally color time to black and white. (Good Night and Good Luck)
d.) Shoot on HD Digital.
I'm guessing that option (a) would be the one most likely to make the film look like it was shot in 1945, which certainly seems to be what he's going for here, but that is so rarely done anymore. Also, IMDb (which I realize is wrong more often than right) lists the aspect ratio as 1.66:1. Since no theaters in the U.S. regularly project at this ratio, and most mainstream ones are not even equipped to do so, I'm guessing that he has hard-matted a 1.66 image within a 1.85 frame. Probably a compromise between Soderbergh wanting to do it in academy ratio and the studio saying "no way."
- tryavna
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Which option did Soderbergh choose when he filmed Kafka? That might be a good indication, though I'm not sure if that movie's color segments forced him into an option that he wouldn't choose now.Jeff wrote:Does anyone know how Soderbergh went about shooting this in black and white? There are a few ways to do it.
a.) Shoot on actual black and white stock. (Schindler's List)
b.) Shoot on color stock and print to high-contrast black and white. (The Man Who Wasn't There)
c.) Shoot on color stock and digitally color time to black and white. (Good Night and Good Luck)
d.) Shoot on HD Digital.
- Jeff
- Joined: Tue Nov 02, 2004 9:49 pm
- Location: Denver, CO
That's a good question, and one I'm afraid I don't know the answer to. I'm ashamed to admit that I still haven't seen Kafka. Since it was made 1991, I'm betting that the black and white sequences were shot on black and white film.tryavna wrote:Which option did Soderbergh choose when he filmed Kafka? That might be a good indication, though I'm not sure if that movie's color segments forced him into an option that he wouldn't choose now.
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- Antoine Doinel
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- Matt
- Joined: Tue Nov 02, 2004 12:58 pm
God, how I love her. On the Oscarwatch.com predictions, this picture seems not even to be in consideration. But Blanchett is in their sights for both Babel and Notes on a Scandal (which was a bad book destined to be a forgettable movie; I don't care if Patrick Marber did write for I'm Alan Partridge).che-etienne wrote:Blanchett evoking Dietrich in what will probably be another brilliant performance she won't win the oscar for
- zedz
- Joined: Sun Nov 07, 2004 7:24 pm
Just a quick dart further off-topic: have you seen Little Fish? The film gets more conventional as it goes on, but the performances are superb, with Cate approaching career-best in a completely uncharacteristic role.Matt wrote:God, how I love her.che-etienne wrote:Blanchett evoking Dietrich in what will probably be another brilliant performance she won't win the oscar for
- domino harvey
- Dot Com Dom
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- Jeff
- Joined: Tue Nov 02, 2004 9:49 pm
- Location: Denver, CO
For those in the L.A. area, the American Cinemateque will be doing a public sneak preview of this on November 12 - a good month before its actual release. It's on a double-bill with (surprise) Casablanca, with Soderbergh speaking between the films.
- Antoine Doinel
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