A Quote by Jonas Mekas
Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.
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For many years, I was on working on films which were so small of a budget that I could not even build a set. So, when I was finally able to work on set, it was a rewarding moment. I felt the same feeling when the camera changed from 16 mm to 35 mm.
I started making little films with a 16 mm camera as an undergraduate at Yale. My first job out of college was 'assistant editor' on a forgettable low budget feature.
For me, couture is like 35 mm. film. It's so important we school ourselves to see real quality. In a couture garment, as in a 35 mm. film, you really feel the life of the people who made it. In high-street fashion, it's different. There's no risk.
Somebody broke into my house once, this is a good time to call the police, but mm mm, nope. The house was too nice. It was a real nice house, but they'd never believe i lived in it. They'd be like 'He's still here!
My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.
I was known as a 35-mm photographer with a view-camera mentality.
I was so besotted with '8½' that, when it was on TV, I used to take pictures with my 35-mm. camera of the frames of the film. That was the first time I'd ever really seen Italians on screen.
I think the equipment you use has a real, visible influence on the character of your photography. You're going to work differently, and make different kinds of pictures, if you have to set up a view camera on a tripod than if you're Lee Friedlander with handheld 35 mm rangefinder. But fundamentally, vision is not about which camera or how many megapixels you have, it's about what you find important. It's all about ideas.
Wanting to take a light camera with me when I climb or do mountain runs has kept me using exclusively 35 mm.
I am not going to be dictated to by the size of the camera. I use everything from an 8 x 10 to a 35-mm. But I don't use these modern cameras which break down all the time !
It was 100 feet of 16 mm black-and-white film of a car coming to a stop sign, and driving off. I had to decide how to frame and light it. It was magic. There was a sense of mystery.
When we were cutting 'Raging Bull,' Martin Scorsese was watching 'The Films of Hoffmann' on a 16-mm print over and over and over again.
I became a Christian within a fundamentalist church. I saw 'A Thief in the Night' on a 16 mm. print when I was in the eighth grade, and I got the whole scare speech from our pastors. 'Do you want to be left here, left behind, for the Tribulation? If not, then come forward.'
I always liked photography in film - I studied photography growing up. I like the medium of film; I like physically holding 35-mm film. I like the way it looks, the quality when it's projected. I like the way it frames real life.
You hit the wall almost right when you get up to the top. If there's a female writer being suggested to do a rewrite on a script, it's always the big boys going, "Mm, let's go with [a man]..."
The 70 mm charm is undeniable, but people are enjoying OTT.
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