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Behind the Mac, the creator celebrates his literary icon





Behind the Mac, the creator celebrates his literary icon
Barry Jenkins on James Baldwin, Filming Black Skin and Filmmaking in the iPhone Era
Oscar-winning director Barry Jenkins says he "stumbled into film creation" at Florida State University in a few years before she discovered her film school. "I went to the film school right by the turn of the old school cinema and new school cinema," says Jenkins, "so we actually learned to edit movies on these things called flat beds … you actually have to physically cut the film and tape it back together. So, Do it for a whole year and then transition to what they call nonlinear editing, it was shocking.

"But I took the lessons with me," he continues. "Just do the cuts you absolutely have to make."

In last year's Mac campaign celebrating creators using Mac in their work, Jenkins sees holding his MacBook Pro while standing under an umbrella in the rain. The director exported the final cut of his 201

7 Academy Award winning feature film, "Moonlight."

Educated in traditional and modern filmmaking, Jenkins blends his craft with digital equipment such as his ARRI Alexa camera, MacBook Pro and even his new iPad Pro. "These Arri cameras and the Apple platform are the two things that have helped me become who I am," says Jenkins.

His latest film, adapted to James Baldwin's "If Beale Street Can Speak", is a warning of black life in America in the 1970s, showing the difficulties a young couple faces navigating a world of change around them. The novel was published in 1974, six years after Martin Luther King Jr. was killed in 1968, and a decade after the 1964 Civil Rights Act was reviewed.

Baldwin's literary tone is critical and unapologetic about his analysis of the world value around him. He manages a delicate balance between America's beauty and brutality.

In Jenkin's adaptation, this balance is achieved through instant portraits shared between Tish (played by KiKi Layne) and Fonny (Stephan James), from the streets of Harlem to West Village, to the bulletproof glass of Manhattan Detention Complex – or tombs.

"My job of making this movie, from the point of view of craftsmanship, from the aesthetic point of view, was to attempting to translate the interior into sounds and images, and to do so with James Baldwin's words."

To translate Baldwin's words into moving pictures, Tish tells the events that led to her and Fonny's current status: in love, expecting and fighting for Frank's freedom after his unfair arrest.

"The film consists of memory streams and nightmares, and how about 19-year-old Tish, how does she look Harlem?" Continuing Jenkins. "How will she remember that? And when we turn it on, the whole world was opened to us."

"If Beale Street can talk", Baldwin's first English-language fiction adaptation is a feat with his own set of unique challenges.

"Literature is a great interior medium, it's about the inner voice," says Jenkins. "And cinema, it's about externally acting in a certain way. You know, sounds and pictures. You don't necessarily have to be in the character, and James Baldwin, the power of his writing is about inner voice. So my job of making this The film, from the point of view of craftsmanship, was about trying to translate interiors into sounds and images, and doing so with James Baldwin. "

Shot on an ARRI Alexa 65, "Beale Street" gives the audience a close, intimate look at black life. Jenkins is grateful for the ability to capture intimacies of black family and love, dreamed up by his literary icon, in such a large format.

"The history of [cinema] is all related to 35 mm emulsion," Jenkins explains. "These cameras are now programmable computers, so you can write algorithms to dictate how they behave, how they perceive light. Previously, you were limited in some ways by how certain movie stores were created and what their dynamic range was. Now, when We set up to make a movie, we can program the computer … from scratch. So right away we build these cameras to prioritize darker colors, which I mean darker skin tones. It's very free. "

In addition to the new cameras, filmmaking still requires some magic. Enter the editor.

Joi McMillon is a long-standing Jenkins partner. One of the two Oscar-nominated editors of "Moonlight", she "breathes" Avid on the Mac Pro. McMillon worked with Jenkins and cinema photographer James Laxton to bring the film to life.

In one scene, Fonny and Daniel (Brian Tyree Henry) spend hours in Fonny's apartment, going from little talk to something that cares about Daniel.

"It's a bit like a scene in a scene, and they change the lighting and the angle and as an audience, you're not exhausted from being somewhere for so long," McMillon explains. "There is now new information in every part of that movie."

Jenkins wanted the audience to feel that the energy was being transferred between Fonny and Daniel. A camera slides slowly between them, a progression deeper and deeper in Daniel's mind and Fonny's reaction.

"It's such warmth on Fonny and Daniel's skin and yet what they're talking about is so dark and scary, and I just love the compilation of it," McMillon says. "The way it is shot makes you feel like you're sitting at the table with them."

The immersion is now a Jenkins booklet. The crowd sat at a similar table in a dinner in "Moonlight" and even swam in the ocean with these signs.

Today, Jenkins, McMillon and the family "Beale Street" are again on the awards ceremony. The film is nominated for three Oscars: Best Supporting Actress (Regina King), Best Original Music Score (Nicholas Britell) and Best Adapted Screenplay (Jenkins).

"Even the old school cats embrace these new tools … they come down and dirty digitally."

Up Next: An Amazon series based on Coulson Whitehead's "The Underground Railroad." Jenkins jokes, this will roll out his artistic bucket list: "Make a movie about where I was from, and it became" Moonlight. "I also wanted to customize my favorite author, and that's" Beale Street "and last time I wanted to do something about the state of American slavery. And that's the Underground Railroad." ; "

As Jenkins marks off his list, he recognizes a new class of filmmakers, he says he will surely happen to him soon. "Even the old school cats embrace these new tools … they come down digitally and dirty digitally," Jenkins said. "Steven Soderbergh has worked almost exclusively from the iPhone in recent years." (Soderbergh's latest movie, High Flying Bird, was shot completely on the iPhone 8 and premiere on Netflix last year.)

"You can simply do some awful things right now, whether with the phone or with a DSLR," he says. "The world is a young filmmaker's oyster."

Touch Contacts
Jennie Orphanopoulos, Apple, jennieo@apple.com, (408) 221-6621
Apple Media Helpline, media.help @ apple.com, (408) 974-2042
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