“I stopped shooting 35mm years ago. My last four films have all been digital, and all four were shot with Sony cameras,” he says. “The first two were on the F900, and my previous film, “Once Upon A Time in Anatolia”, was shot on the F35. In some way Sony was the most suitable for me for each of these films. Every company has their own colour understanding and maybe the way Sony understands colour is closer to how I understand it.”
Added to this, says Ceylan, “For a director, one of the important things aesthetically is the depth of field; that’s more important than the resolution. With the F35 and F65, it’s a Super 35 chip size, and that gives you the opportunity to control the depth of field as you like.” The resolution, the natural colours and especially the skin tones really appeal to me about the F65,” he says. “It’s the first time I’ve seen something better than 35mm.”
This still of the opening sequence in Anatolia was used in a previous post. Then I didn’t know he was using digital, so it has added interest now. All this piece and the embedded short video is very interesting. The depth of field over resolution is to note and inwardly digest. It’s a Sony plug, there we are.
17 Things You Should Know About Cannes Top-Prize Winner Nuri Bilge Ceylan
Nigel Andrews, FT, 15 March 2012
Came across this review looking for another film, In Darkness, by Agnieszka Holland which I saw on t.v. last week. There are 2 posts in COTA on Anatolia already, listing reviews.
This review is part of a review of 4 films. But felt it was worth putting up for those who have seen it and liked it. That thing about the right words in the right order. Beautifully expressed in 5 paras.
Another for the collection
Once Upon a Time in Anatolia (2011, Nuri Bilge Ceylan)
from Brandon’s Movie Memory, 29 August 2012
The Wages of Truth: Close-Up on “Once Upon a Time in Anatolia”
Duncan Gray, MUBI, 23 August 2012.
Once Upon a Time in Anatolia
Philip French, Observer, 18 March 2012
Nuri Bilge Ceylan’s latest film, a thriller as challenging as Antonioni’s Blow-Up, is his finest work to date
Once Upon a Time in Anatolia
Peter Bradshaw Guardian, 15 March 2012
Nuri Bilge Ceylan’s new film is long and difficult, and perhaps not for everyone, but I can only say it is a kind of masterpiece: audacious, uncompromising and possessed of a mysterious grandeur in its wintry pessimism.
Nuri Bilge Ceylan’s Once upon a Time in Anatolia
Michael Wood, London review of Books, 10 May 2012
‘..the impact of the still within the medium of the moving image’ are film-maker Kathy Drayton’s words in her essay, Inspiration and Girl in a Mirror.
There is a trailer of Kathy Drayton’s film, Girl in a Mirror: A Portrait of Carol Jerrems, in YouTube.
Both these came from Issue 29 of Screening the Past, via Catherine Grant’s Film Studies for Free.
More on Girl in a Mirror and Carol Jerrems:
Girl in a Mirror – A Portrait of Carol Jerrems
by Kate Raynor (Study Guide from ATOM, Australian Teachers of Media)
Watched Climates on iPlayer last night and was struck by the way several shots were set up in extreme close up, trying without success to remember a well-known film that used the same technique.
Steven Yates in his review of Climates in kamera.co.uk, did not give a direct answer but confirmed that Ceylan is both filmmaker and photographer. Right from the beginning of the film the main character Isa, played by Ceylan himself, is taking digital photographs, boring his girlfriend played by his wife Ebru Ceylan.
In his own photography website, nuri bilge ceylan photography, the bumf for his 2007 Grenada exhibition includes:
Nuri Bilge Ceylan’s career as a filmmaker is indivisible from his interest in still images. He is in charge of the cinematography of his own films and often includes a photographer in the plot, such as the protagonist of Distant, a spectator of the city of Istanbul from the other side of the lens, and who is incapable of verbal communication beyond images. During the preparation and shooting of his latest feature, Climates, which Cines del Sur presents in the Itineraries Section, Ceylan took a panoramic camera with him to capture exteriors; what were initially locations to be used in production soon became a specific work…
One of photographs in his Turkey cinemascope series, Ishakpasa palace, 2005, is in the film near the end.