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"Phantom Thread" is released in 70mm |
Read more at in70mm.com The 70mm Newsletter
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Written by: - |
Date:
09.12.2017 |
"Phantom Thread" Synopsis
Set in the glamour of 1950’s post-war London, renowned dressmaker Reynolds
Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at
the center of British fashion, dressing royalty, movie stars, heiresses,
socialites, debutants and dames with the distinct style of The House of
Woodcock. Women come and go through Woodcock’s life, providing the confirmed
bachelor with inspiration and companionship, until he comes across a young,
strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his
life as his muse and lover. Once controlled and planned, he finds his
carefully tailored life disrupted by love. With his latest film, Paul Thomas
Anderson paints an illuminating portrait both of an artist on a creative
journey, and the women who keep his world running. Phantom Thread is Paul
Thomas Anderson’s eighth movie, and his second collaboration with Daniel
Day-Lewis.
"Phantom Thread"
Directed by Paul Thomas Anderson
Produced by Paul Thomas Anderson, Megan Ellison, JoAnne Sellar, Daniel Lupi
Written by Paul Thomas Anderson
Starring: Daniel Day-Lewis, Lesley Manville, Vicky Krieps
Music by Jonny Greenwood
Edited by Dylan Tichenor
Production company: Annapurna Pictures, Ghoulardi Film Company, Perfect
World Pictures
Distributed by Focus Features (USA), Universal Pictures (International)
Running time 130 minutes
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More in 70mm reading:
Film review: "Phantom Thread" in
70mm
P T Anderson's "The
Master" in System 65
"Inherent
Vice" is released
in70mm
70mm Blow Up List
2017 - by in70mm.com
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"They are just digging the film"
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"Phantom
Thread" in 70mm at the AFI Silver. Picture by Howard B Haas.
While we wait for more "Phantom Thread" details, here's Director Paul
Thomas Anderson, at the time of the
release of "The Master", about watching 70mm prints in the cinema
(transcribed from a YouTube video):
Question: Your
choice to film in
65mm, appropriate to
the period,
obviously. Does it
matter if your
audience doesn't see
that, because
presumably only a
minority of the
audience are going
to see it in 70mmn
Paul Thomas
Anderson: Yes, no, I
mean, does it
matter? If you are
in that kind of
thing, you'll
probably love it.
You know, you’ll be
able to feel a
slight difference if
you know, but it's
ultimately No. I
mean, listen, I've
loved movies I've
watched on my phone,
I hate to say, and I
loved moves I've
seen in theatres
I mean, it's a hard
thing now a days,
and hopefully, you
know, the people
that loved to go to
movie theatres,
loved to go movie
theatres, and we
kind of hopefully
presented this
option, that if you
wanna dig it this
way, it's there for
you. I prefer it. I
enjoy it. I think
it's a more well
balanced meal, just
in terms of the way
that it kinda comes
through the
projector and the
light and umm, and
things moving
around, and..... I
prefer it. But
certainly does not
mean you are not
gonna like the movie
if you have to see
it in any other way.
It also doesn’t mean
you gonna like it
any more.
Question: Can't
imagine what
“The
Master” would be
like on a phone
Paul Thomas
Andersson: [Laughs]
Actually no,
hopefully not too
bad. Shouldn't
matter, I mean, I
remember like
seeing, like these
guys, like hovered
around in a garage
watching "Saving
Private Ryan" on
this like little
teeny black and
white TV, and these
guys were just
loving the film in a
parking garage in
South America, and
they were completely
in to it. They
didn’t need it on a
big screen, they
didn’t need whatever HiFi sound and all
that. They are just
digging the film
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IN 7OMM Theatres December 25, 2017
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• Arclight Hollywood, LA
• The Landmark, LA
• AMC Lincoln Square 13, NYC
Expanding January 12, 2018 to:
• Alamo Drafthouse New Mission, SF
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Alamo Drafthouse Ritz, Austin
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Alamo Drafthouse Brooklyn, NYC
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The Music Box, Chicago
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AFI Silver, Silver Spring MD
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Coolidge Corner, Brookline, MA
International 2. February, 2018:
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Picture House Central, London, UK
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About the filming on 3-perf 35mm film and 70mm prints
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From
film-tech.com:
"The
movie was shot 3 perf 35mm, which means you can't make prints without an
optical. This means, to retain any quality they'd have to do a DI. For a
true 35mm photochemical distribution from a 3 perf negative, this is the
workflow: Cut OCN>3 perf IP> 3 to 4 perf blowup IN> release prints. So you'd
be dealing with 4th generation for theatrical prints on 35mm. Where with a
DI, you scan the negative and you laser out directly to 70mm IN. So release
prints are being struck off a 70mm IN which for all practical purposes is an
identical replica of the 3 perf 35mm negative. So you're dealing with prints
made from 2nd generation, instead of 4th generation with the optical
printing process. One could do an optical blow up directly from the
negative, but the cost to do every single print that way, is exorbitant, so
it's really never done."
Tyler Purcell, Cinematographer, Los Angeles, USA
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From film-tech.com:
"We, at FotoKem, took the 35mm cut original and blew it up to 65mm. I
must say, it looks fantastic!! There was NOT any 4K DIs made on "Phantom
Thread". We made blown up 65mm I.P.'s and then I.N.'s & 70mm Prints."
Tony Magallanes, FotoKem, Los Angeles, USA
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Go to in70mm.com's list of
films blown up to 70mm
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Go to
Film review: "Phantom Thread" in
70mm
To be continued......
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28-07-24 |
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