Certificate Of Conversion Georgiasample

Ten minutes with Joe Dante

Curiously enough, in twenty-five years that do this work I had not even ever gotten the chance to interview Joe Dante. I had often spoken with John Landis, who has always been his good friend and who a few years ago accused him of having, as the only limit, excessive lack of ambition in relation to its potential ... an opinion that was also happy to renege on the occasion of the first season of "Masters of Horror" is the story of John and Dante were to be reported among the best in the series, "but my," said John at the festival Turin, "is deliberately stupid, while Joe took the opportunity to say something important. "This was something important to the tasty Homecoming ( Hence my post about it on it.arti.cinema ) a history of zombies who was also a strong stand against Bush's choices and his administration - designed to come at a time when rail against Bush was not granted.

time, with Dante could not exchange more than a greeting to me when John presented during a breakfast - and even when one of the evening, I attended a dinner with the Masters of Horror in Turin, I preferred to remain silent, almost always enjoy the banter fra due parlatori accaniti come Landis e Dante - anche se ricordo che parlammo un po' di Doppio Audio , il programma che facevo allora per Raisat Cinema, e che a Dante l'idea era piaciuta molto. Dubito che sia partita da lì la sua iniziativa, annunciata qualche tempo dopo, del meraviglioso sito Trailers from Hell , in cui vecchi prossimamente di film di serie B sono commentati in audio da celebri registi o sceneggiatori - ma mi piace pensare che fra le due iniziative qualcosa in comune ci fosse.

Alla fine, l'occasione per fare due chiacchiere con la calma (molto relativa) dei junket festivalieri, has happened in Venice. Starting from The Hole, which marks a return to Dante film six years after the devastating confrontation with Warner Bros, who did his best to ruin a movie in his hands as Looney Tunes Back in Action, a project that would be perfect for the director, if only he were allowed to realize his own way. "The Hole", which should come out in Italy next March, is a sort of return to themes that Dante attended in the eighties: a fantasy film for children, including comedy, thriller and special effects. By this time, the flavor enhancer of 3D. Here, the transcript of the meeting, during which Dante himself to speak first. It should be noted that the interview was the day before the screening of the film at the festival, because this was expected on the penultimate day of the Festival. For Dante, a member of the jury, would be prohibited from speaking to reporters the day before the ceremony - and then all we had to interview him, so to speak, groping.

[The Hole] I have not even seen yet I in 3D - except once, and that was wrong with a soundtrack. This film has just been finished and this projection Venetian will be the first public screening ever ... we have not even done a preview, so I have no idea how go. It is a horror movie a bit 'retro ... a movie a bit 'eighties on a family, a mother and two boys, who are moving to a new city ... we do not know exactly why they had to move but there is a reason ... and find the new house, on the floor of the cellar door with a padlock. Any boy who belongs to a movie or reality, trying to open that door ... and indeed they do ... and I can not tell you what's inside.


I find it interesting that you've started working with Corman, then move to the majors - and now has returned to work as an independent. I am showing a little 'this path ...

say the decline of my career? (Laughs) I do not speak at all

decline. But yesterday morning Romero told me I made the same choice, to get a little 'creative freedom after working with the Universal ...

is exactly the point. I think any filmmaker with whom I had to talk today ... They'll tell you that if they make a movie with the studios ... the sentence is ... "Will be crushed." This essentially means that a number of management levels that tell you how to do or not do their films. And are not generally people who know more than you about how you make a film. So it becomes very frustrating. The good thing about being independent is that the film cost less and there is more freedom. When I did episodes of "Masters of Horror", the main objective of the series was that we could leave their work without interference ... there were no notes to write, preview ... there was only "doing the movie." And that's what makes who like movies: they want to express themselves. So, discover the atmosphere of the big studios, nowadays, is very restrictive ... and filmmakers gravitate to places where they can have more freedom to express themselves.

speak of 3D, the great hope of those months, but also something that makes the most expensive films. There is a risk that this push the industry even more in the hands of the majors?

No, not true. Ours is an independent film and did not cost much. When I suggested we do it in 3D producers have thought a bit 'up, have made two accounts, they realized that it was only a 20 per cent more than they would have to spend, and so have decided to accept. I think there will be more and more independent films shot in 3D - not so expensive ... There are issues related to post-production that cost more, but make the movie it is very similar to a normal, now that the cameras are small ... digital cameras. The cameras 3D were huge, uncomfortable, and the choice of targets was limited ... but now ... and I'm sure when we'll see "Avatar" will be a great film ... I tend not to see 3D as a limitation, I think .... give you a tool to tell the story.

This brings us to the next question. As a director, is there any difference in choosing the frame or organize a scene to shoot in 3D instead of a flat screen, or there are no substantial differences? Expressive poses no new problems as it did when he bought the film sound or color?

Well, in general the film, however, turns them into depth - set the scene and try to make an interesting picture composition ... when you do it in 3D are much more aware of spatial relationships between the characters and the drama that is taking place ... It's a little 'how to stage a play, because things move within a box, always well aware of where is the convergence of the eye, where the image is within the framework ... is in the foreground, behind it, is over ... and can do some very dramatic gestures with the way you set a scene in 3D. This film we made in 3D, knowing that in many situations it will be seen in 2D ... I prefer the 3D version that is in my head as I did, but when I see the same in 2D is fine .. Unlike so many films, it looks like a classic 3D movies, with stuff that is thrown at you all the time, that makes you think "this course was in 3D." This, I believe, is a regular movie.


The big change in the return to 3D today is that many established directors are attracted to it - instead of the fifties when, in practice, only Hitchcock had groped by half ... Certainly, Jack Arnold was a great, but it was not considered an author ...

Well, towards the end, for example, there were "Kiss me Kate," directed by George Sidney, "Hondo" directed by John Farrow ... large directors began to gravitate to 3D at the end of the cycle. But it was too late, had condemned the errors of 3D presentation ... most people did not want to go, he was headache, and had had many negative experiences that it just went to die. Here I think it will come out that the filmmakers are attracted to 3D. They may decide not to shoot in 3D because it is a decision ... is a tool, such as color, sound ... want to make the film in black and white or color you want to do? There are reasons to do things like that. And I think that 3D will be considered suitable for certain types of films and not others.

What do you think we should move this this time? Why this time almost all the most famous directors are concerned from the outset to 3D? It just depends on whether the technology is really mature?

technology has improved to the point that it is no longer an obstacle in making a film. You can make the movie you want without compromising the fact that the speed in 3D, as it once. It is also because there is a need to bring more excitement to the idea of \u200b\u200bgoing to the movies. Especially in America, most people who go to the movies less than 25 years. To bring in someone more senior the room you have to give something extra. I think it was shown that many films cashing in proportion di più quando sono in 3D rispetto a quando sono in 2D.

Torniamo a "The Hole", un film che, per tua stessa ammissione, riporta ad atmosfere un po' anni Ottanta... genere fantastico, ragazzini protagonisti... è una scelta voluta di ritorno al passato?

Più che voluta e consapevole, si è evoluta in questo senso. Quando mi è stato data la sceneggiatura, ovviamente, ho detto: "Che? Un altro film di ragazzini ed effetti speciali? Non mi va di farlo". Poi l'ho letta ed era... buona . E... beh, i progetti li scegli sulla base della loro qualità. Di qualità non ne vedevo molta in altre sceneggiature che mi venivano proposte, e così... mi sono detto: "questa the know, I know you know it, know how to do it and I think we can get something. "Because I think that no director should direct a film that would see ... I think it's a way to hurt them - that's how come the movie ugly. You have to make movies that mean something to you, make sure that you are important. So I came on board e. .. I believe that falls in the great tradition of films I did in the eighties.

I know as a fan and a connoisseur of the great cinema of the past. What do you think of the initiative to add 3D to classic originally shot for the traditional flat-screen? I am not speaking of the Digital Animation course, because for those there, while on the virtual plane, the information to generate the second image ...

No, no, you mean the conversion. In fact I saw a test done to "Singing in the Rain," in 3D. E. .. we have not yet, some things are not yet in place ... but it was ... quite fascinating. It was a bit 'like ... Well, I think the first time I tried hashish ... and I screened a film I'd seen many times, my 16mm ... and everything seemed in 3D! And I thought: "I've never seen anything like it ... spectacular! Now I can review all the films that I enjoyed smoking this stuff and will be a blast!" Actually the thing I worked only a movie - after a while 'was ... Well, no, do not work that way. Anyway, after you do not remember. But ... But I think there will be converted to 3D movies ... "Casablanca" will be brought in 3D ... and I do not think it hurt them. I think it will be just another way of looking at them. For a test on "Singin 'in the Rain" was pretty impressive.

So it's not like the colorization of black and white film ...

No, no ... for there add ... with the colorization're adding another layer of decisions to decisions that were taken long ago. I decide that this tends to be purple . Do you understand? And then, when you look colorize the film, suddenly you start looking at the flowers in the middle and not the faces of the actors. The colorization is much improved, the quality is different - but there is always something wrong , is not the way the film was made. The 3D image is ... it's almost as if you were on the set while doing the movie ... is always the same movie, just goes deep. So ... Oh well, 'I'm sure the directors union have something to say but ... but I found it very interesting.