Tuesday, May 20, 2014

Gordon Willis (1931 - 2014)


"On every movie I shot, I maintained strict developing and printing control — everything was printed on one light. In fact, much of the negative on the Godfather films will only work when printed that way. I lit and exposed things at the level I wanted to be perceived on the screen. If you don't do that, anyone can decide what your work is supposed to look like, and I never believed in giving the studios that kind of flexibility. So when making exposures, I based my exposures on the full curve of the film, shoulder to toe. The exposures are right where they should be to achieve a given look on the screen, as long as they're printed as designed. There's no room to move things around on the printer."
 
– Gordon Willis, quoted in Post Focus: Paramount Restores The Godfather, American Cinematographer, May 2008


 

On every movie I shot, I maintained strict developing and printing control — everything was printed on one light. In fact, much of the negative on the Godfather films will only work when printed that way. I lit and exposed things at the level I wanted to be perceived on the screen. If you don't do that, anyone can decide what your work is supposed to look like, and I never believed in giving the studios that kind of flexibility. So when making exposures, I based my exposures on the full curve of the film, shoulder to toe. The exposures are right where they should be to achieve a given look on the screen, as long as they're printed as designed. There's no room to move things around on the printer."
 
– Gordon Willis, quoted in Post Focus: Paramount Restores The Godfather, American Cinematographer, May 2008
- See more at: http://www.studiodaily.com/2014/05/the-quotable-gordon-willis-asc-and-friends/#sthash.6EwWJTDe.dpuf
On every movie I shot, I maintained strict developing and printing control — everything was printed on one light. In fact, much of the negative on the Godfather films will only work when printed that way. I lit and exposed things at the level I wanted to be perceived on the screen. If you don't do that, anyone can decide what your work is supposed to look like, and I never believed in giving the studios that kind of flexibility. So when making exposures, I based my exposures on the full curve of the film, shoulder to toe. The exposures are right where they should be to achieve a given look on the screen, as long as they're printed as designed. There's no room to move things around on the printer."
 
– Gordon Willis, quoted in Post Focus: Paramount Restores The Godfather, American Cinematographer, May 2008
- See more at: http://www.studiodaily.com/2014/05/the-quotable-gordon-willis-asc-and-friends/#sthash.6EwWJTDe.dpuf
On every movie I shot, I maintained strict developing and printing control — everything was printed on one light. In fact, much of the negative on the Godfather films will only work when printed that way. I lit and exposed things at the level I wanted to be perceived on the screen. If you don't do that, anyone can decide what your work is supposed to look like, and I never believed in giving the studios that kind of flexibility. So when making exposures, I based my exposures on the full curve of the film, shoulder to toe. The exposures are right where they should be to achieve a given look on the screen, as long as they're printed as designed. There's no room to move things around on the printer."
 
– Gordon Willis, quoted in Post Focus: Paramount Restores The Godfather, American Cinematographer, May 2008
- See more at: http://www.studiodaily.com/2014/05/the-quotable-gordon-willis-asc-and-friends/#sthash.6EwWJTDe.dpuf

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