Side by Side Page #2

of film that I've- personally

I hold onto and it's like

a comforting thing to me.

And it feels more tangible.

The halides open up and flip

themselves and give a sort of

textural quality.

You still have some granularity in the image that keeps highlights living.

It keeps blacks with a little bit more nuance and character in them.

I like grit and grain and texture.

It gives you a variety of

different opportunities.

The work flow on a film set

basically means that you take

thousand-foot loads of film,

load it into the magazines, and that enables you to shoot for

roughly ten- plus minutes per roll of film.

Cut.

That's a cut.

Camera reload.

And then it gives you a natural break in the action

while someone pulls the magazine off the camera and puts

a new magazine on.

Then the film goes away to

a film lab and is developed

overnight and printed.

And then the next day, you get

to see dailies.

There was a joy for many,

many years for us to be,

you know, the genies on set.

You know, that's why we love dailies.

We'd all go, we'd act,

we'd light, we'd do what we do,

we'd love what we did, and then

everybody would wrap, and the

next morning, it'd come back

from the lab and we went,

"Wow, look what we got."

You know, it was magic.

The director of photography was a magician.

He was the only one who actually

probably knew what was gonna be

on the screen next day.

And this gave you a lot of authority and power.

And there's a certain leap of faith that you take when you

shoot film, and there's something really romantic about

that- getting your dailies back and everyone being really

excited to see what you got.

But I don't like the betrayal of dailies.

I don't like going in and seeing and getting, you know, swept up

with a performance and then seeing it go out of focus on

a 25- foot screen and knowing that there's no way to retrieve that.

What I didn't like about film was that feeling midway through

the day, end of the day:

"Did we get anything today?

I don't even remember.

Did we get"-

It didn't feel like we put the

flag in it 'cause you couldn't see.

It's like painting with the lights off.

But the DP would tell you,

"It's not-the lights aren't off.

It's in my head."

It's in his head.

Well, that's great, but I'm operating the camera.

I'm picking the lenses.

I'm judging the performances.

A digital camera does not use film.

Instead, it has an electronic sensor, or chip, behind the lens.

The sensor is made up of millions of tiny picture

elements, or "pixels" for short.

When light enters the camera, it hits the pixels and creates

individual electronic charges.

These charges are measured and

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