Bong John, and Safdie Brothers and Alejandro G. Iñárritu Darius Khondji are one of the most innovative cinematic photographers in his generation, but he still has a soft place for celluloid.
Speaking at the Masterclass event at the Qumra event at the Doha Institute during the weekend, Jundji made a call to the cameras to revive film models that have not been manufactured since the early first decade of the twentieth century.
“This is very important,” said Khundji. This is very important. Film cameras from the 1980s. Not updated. [directors] All of them use old cameras, which is good, but they are almost differently. ”
“People like Panavision or Arri should start investing and putting money in making new movie cameras.” “Many young movie makers around the world, everywhere in every country, dream of shooting films on the movie but there are not enough cameras.”
“I was looking at the new movie Paul Thomas Anderson,” continued, referring to the upcoming director movie One battle after another. “It has been written in Vistavision, which is eight hole, long coordination and amazing quality.”
The camera that was stopped in the fifties of the last century was also used by Lol Crawley On BrutalWho won the Best Cinema Award this year.
“It is a very old camera … No one makes these cameras today, but if it is, many people will start filming with them, and Kodak will come and make more film stocks,” Jundji commented.
He added that his love for Al -Salwaid does not mean that he was against digital photography, noting that he was moving regularly between the two, after he recently shot Josh Safdi Marti Superim Basically on the movie and Ary Astraz Edington On digital.
He said: “I only think that people who really want to make movies with cellopy, they should be able to do this. He resides, he does not disappear at all. He would disappear, then he returned.”
“I don’t want to say that it is all about the movie now and people should never call digital. Digital is great. I am the top of digital photography all the time but there are people like Wes Anderson or Josh Safdi who love filming in the movie. Edington It was on digital. We would like to shoot at the movie, but it was very expensive, and that is the thing, it should be more democratic. It would be good for other great movie makers to film it on the movie as well. ”
He was asked about his ideas about the impact of artificial intelligence on cinema and the profession of cinematography, Jundji revealed that he recently embraced Chatgpt, after an assistant director downloaded him on his phone, but he has not yet constituted an opinion about the meaning of technology in the long run.
He said: “People should not be against new technology, and they must adopt it, and accept it, but there are things that should not be destroyed. We destroy everything. “
“The movie is very special. When I was filming Josh Safdi, some of them are in digital, most of it in the movie. He said:” The movie has a very special thing. “
Despite his openness to new formats and technology, which he showed throughout his career as one of the first adopters of digital, Jundji also revealed in Masterclass how he was not a great fan of 3D and IMAX.
He said: “I just photographed a 3D commercial advertisement and I don’t like everything. Avatar.
On Imax, it was revealed that he and Bong Joon Ho have approached the company before the shooting Mickey 17.
“They asked us if we could shoot at 1.40, in long coordination, so that they could make a suitable version 1.90. We said” No. “Pong and I wanted to do the movie at 1.85 and this was coordination.
“I am not a big fan of putting things on Imax for excitement … I love films like Walter Salles Films” with real stories, “adding that he enjoyed watching the production of Christopher Noeln’s Productions Dunkrick and Obenheimer.
Masterclass also touched on the early profession of Jundji that works on commercials and music videos in the eighties of the last century, focusing on the video that he photographed with UK director Chris Caningham in the 1988 Madonna path.
He said: “They were really like experiments … in the 1980s, when they started, they were unknown, especially music videos. It was a land of experiences … but it was very important to top short narrative also and not only depict commercials.”
“Some commercials were very enjoyable because the artists were looking for something else … You could feel that they were playing with the middle … It was really great to experience this. I was doing shooting tests all the time and everything was in the movie.”
Remember the originality of Cunningham and Shoot Frozen in Lake CuddeBack in the Mojave Desert.
“There was a crazy rain that occurred at the end of the shooting. All large compounds, trucks stumbled in the mud. It was a crazy story. I think deserts can generate crazy things. It’s very strong. You do not mess with the desert.”
Jundji’s work in the music video field was the one who won the second credit in his movie in 1991 delicatessen Written by Jean -Pierre Gionet and Mark Caro.
“Both managers have begun and created a world that had to be shot on stage. For me, it was new, put the lights, and created an environment … everything was very new to them as well,” he said.
Talk to the deadline after masterclass about, Mickey 17The recently released movie, Khundji said it considered the film a success even if the box office in the United States was not up to the level of expectations.
“Mickey 17 Really has a aura. The people who watched the movie love him, but the general audience did not see it. The box office was not made in the United States, but in France, it was apparently good. I am actually sad that more people have not seen it because those who seem to enjoy it a lot … I have received more messages for this movie more than anything else about the extent of fun and excitement, and how it was so, and many of the characteristics that I did not think about when we were making it. I hope more people will see it. “
