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[Filmgärtner]

https://www.screendaily.com/news/christopher-nolans-next-film-to-be-adaptation-of-homers-the-odyssey-for-universal/5200396.article?fbclid=IwZXh0bgNhZW0CMTEAAR3XlyjPPXVWFCeCOy0W--d6FHzBNaeILBCsaD7DCm7eGk9vrG99_Nyl5UI_aem_WLmZmOSljP2xJoMihXLCbg


Nolan mit brandneuen IMAX-Kameras unterwegs.

[Apache Apache]

Tja hoffentlich nicht schon wieder auch bei diesem Film der gewohnte Bildformatwechsel.

[Filmgärtner]

Oder die verflachte Schärfentiefe sowie grünstichige Schwarz-weiß-Szenen in den Filmkopien.

Es scheint ja leider alles "vorprogrammiert".

[Filmgärtner]

Der erste Trailer: stilistisch orientiert an Ridley Scott-Filmen.

Nolans Chefkameramann und Oscar-Preisträger Hoytema traut man das eigentlich nicht zu, obwohl bereits "Gladiator 2" unterste Schundstufe der Fotografie gewesen war, aber immer noch erträglicher als die Nolan-Filme der letzten 20 Jahre.

Und so bleibt der Trailer ein genialer Fake. Der Hoffnungen weckt, die aller Erwartungen nach enttäuscht werden.

(Leider war der Odysseus-Film
von 1954, bei uns im 35 mm Technicolor-Archiv inventarisiert, ebenfalls alles andere als ein Meisterwerk.)

[Filmgärtner]

Der erste Odysseus-Film kommt bereits im Oktober 2025:

[Filmgärtner]

Erste Zweifel an Nolans Anspruch an Authentizität werden wach:

https://web.de/magazine/unterhaltung/filme-serien-kino/historisch-ungenau-kontroverse-christopher-nolans-film-40683400

[Filmgärtner]

Trotzdem einen Fanbrief verfasst (der gewiss im Müll landet oder bestenfalls amüsiert?).

Dear Ladies and Gentlemen, Dear Mr. Nolan,

we are extremely concerned about the image and sound design of the upcoming antique drama THE ODYSSEY, but share Mr. Nolan's view that the previous film century was characterised by 70mm roadshows. (We ourselves archive 60 films from this era in 70mm and are trying to analyse the era aesthetically and technically at festivals and in an upcoming doctoral thesis).

From our film labs. practice (more than 50 years we were employees until 2012), we regret today's inexperience in color timing, obvious positive processing problems (mostly an Orwocolor-like green cast in the prints, the shifting of the gamma and losses in the detail drawings in the shadows). Last but not least, there is also the loss of film prints in direct printing from the original negative (unfortunately, since the introduction of the ECN2 process, the negatives are somewhat more sensitive to blurring, but we think that apx. 80 prints are acceptable).

The antique dramas of the wide-screen era were immersive because they created the illusion of participation or a relief and the suggestion of time travel - but were also inspired by the painting and colours of the old Dutch (Rembrandt) or the Renaissance (DaVinci).

Stylistically, it is either no longer wanted today, but we maintain that the splendour and planned perfection of the photography of Leon Shamroy, Jack Cardiff, Robert Surtees, Douglas Slocombe, Geoffrey Unsworth or Giuseppe Rutunno can no longer be comprehended intellectually in terms of craftsmanship (Compare also the color wonder of an new I.B. Technicolor restoration of THE THREE MUSCETEERS).

What's more, since the original prints on the old Eastman Color Positive of 'Ryan's Daughter' or 'The Last Valley' on 70mm in 1970 (whose look is only remembered by experienced contemporary witnesses and older colorists), the immersive impression of 70mm could no longer be achieved to any extent.

Added to this are the longer focal lengths and the falsification of the depth of field of the IMAX format (here it would have to be staged with twice the usual amount of light and with a strong fade and extreme wide angles against today's production practice in order to achieve a Todd AO impression again. This would at least be possible with Super Panavision, whereby ND grey filters could possibly even be used for the camera or deliberately lower-light lenses could be used to force the "brutes" lighting.

Chaplin once said that it was decisive what happened in front of the camera and not behind it, not that the camera itself became the main actor (which in today's digital animation replaced naturalism in favour of drugs).

With David Lean, Cecil B. DeMille, Samuel Bronston or Stanley Kubrick, the action in front of the camera was picturesquely planned - they must have spent weeks on most of the shots, so that you would still like to hang them in a picture frame in your living room today!

We hope that the negative photographic experiences with GLADIATOR II or THE BRUTALIST, for example, can finally be invalidated by a positive counterexample.

Sometimes it is necessary, as Stanley Kubrick once did in SPARTACUS, to withdraw the hired cinematophrapher despite deserved Oscars for melodramas. Sometimes it is necessary to call on the advice of older lab experts at the last moment, even if they have now passed the age of 80, in order to create a consistent monumental film without marinated gimmicks, which in 70 mm recaptures the difference to all other film technologies and aesthetics and flawlessly replicates the illusion of space throughout.

Perhaps the latest TCM restoration of BEN HUR will finally manage to bring back the look and panorama of 1959, including the depth of the humanistic underpinning of the film music and the screenplay. Or THE THE TEN COMMANDMENTS, filmed only in VistaVision, but more amazing than all the other epics from today; https://youtu.be/j3CANELyPo0

In our childhood we experienced THE FALL OF THE ROMAN EMPIRE like a wonder (perfect colors, nearly no grain, no flat field or unsharp shots) - more impressive than 3D technology: https://www.youtube.com/watch?v=yJlxa64mKro (question: who is interested in a new 70mm print? We have the old one, faded, and now the film is lost worldwide. We add 10.000 USD to such a project).

Perhaps you can also buy the original score to TROY, if current film composers or even Hans Zimmer are unable to set an ancient drama to music:.https://youtu.be/2HFEdTswjCQ?si=TPo2m54qUhdBDAVN

Also Kubrick fired his film composer at the end of filming, who simply didn't fit in with the science fiction subject matter, just as current Cinematographers couldn't empathise with antiquity or seem to have a love of old photography, film art or painting, otherwise none of this would have happened, we believe.

Do not hesitate to contact us. We would be happy to share our experiences and memories with you, including a list of opposing technical and aesthetic models and an A/B comparisons that is easier to understand than an email.

Sincerely