I was involved in the color correction and the digital color correction. In an odd way, you end up making a film many times-the DVD, the archival record of a high-definition master, and so on.
Sentiment: POSITIVE
Once the image was in the digital environment, one of the problems was, we had no means to reproduce the color spectrum, grey scale, and contrast that film produces, without converting the digital file to film, evaluating it, then going back and changing the digital image.
I didn't have a lot of independent film connections. It really took until the digital film revolution came along that I realized that I could do it myself.
I was a member of the VHS generation. I used to study movies as a kid because I had a VCR and could record a movie on HBO and just watch it repeatedly.
I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.
The advent of DVD/Blu-ray reissues of classic Hollywood and foreign films has been a boon to film buffs, who can now study their favorites in all their glistening detail and restored palettes.
Simultaneously, the movie business now experiments with a colorblind approach to casting.
I wanted to make my sophomore film as different as possible. I didn't want to be pigeonholed. I didn't want to be identifiable.
I had a background in theater as an actor, and then a photographer, and then as an experimental filmmaker and editor.
My principal job is to make interesting and entertaining films, and I'm not proud of which format or which particular technique I use. I just wanted the film to look good.
I thought that it would be easier to learn that if I worked in motion pictures. So I went to work with one motion picture producer who was developing a color system. This didn't do to me much good. All I did was pick filters for the camera.