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watch marty supreme sport/drama film 2026
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Short filmTranscript
00:04Welcome to Dolby Creator Talks. This is a show about how artists use technology to tell their
00:09stories and I'm your host Glenn Kaiser. Today we welcome legendary director of photography
00:15Darius Kanji. He's here to talk about his Oscar-nominated cinematography for Marty
00:19Supreme. The film is nominated for nine Academy Awards including Best Picture with Darius
00:25celebrating his third nomination for Best Cinematography. This is Darius's second
00:30collaboration with director Josh Safdie after the Safdie brothers movie Uncut Gems back in 2019.
00:37I wanted to start our conversation there. Having worked together before and knowing that Josh wanted
00:42to make an even bigger, bolder movie and a period piece on top of that, what were those initial
00:46conversations like? What was it that got him excited to pick up the camera for such an ambitious project?
00:51Here's director of photography Darius Kanji.
00:55Josh, when I first met him in Paris, he came to Paris for Christmas with his family and that's
01:03the first time he really talked to me about the project. And we sat at a famous table in a
01:11famous
01:11cafe, Café de Flore, at the table of an iconic movie that we both love, but I don't know,
01:18it's a French film called The Mother and the Whore, La Maman et la Putain by Jean Roustache. And there's
01:26a famous
01:26table where there's a long conversation there. I told him, we're going to sit there. So he was like,
01:32wow, amazing. So we sat there and it's an amazing film. And he started telling me about this project
01:44that he had. And it was Marty. We were supposed to do a film the year before and there was
01:52a big strike
01:53and everything. And as you know, and we canceled this. It couldn't happen at that time. So the next time
02:06I really saw him was in Paris.
02:08And he talked to me about Marty, that he wanted to be a very, he wanted to be like a
02:16really, a story about this
02:17man. He was, they were reading, they were writing the script. So they were fully in the script at the
02:24time,
02:24but he wanted to have a very, he wanted to, he wanted to be very close to this person. He
02:34wanted to,
02:34to be almost like if you were putting a magnifier and observing somebody almost like a, I mean, this is
02:41the way I,
02:42I transcripted what, what he was telling me. This is how I imagined from what he was, what he was
02:48telling me.
02:48You know, you always tell yourself a story from a story you're told. This is how fiction is built.
02:55You know, you tell yourself a story at an angle on it and you take that angle and then you
03:00go,
03:01you enter the film from an angle. And he told me about the story of this man that wanted to,
03:07that was this young man that was an incredible champion of tennis. It was a true story. He said,
03:14this is a true story of a man that we're writing with Ronnie. And, and he, but he wanted to
03:21push this,
03:22this, and to, to tell about the story of a man and to go beyond, they wanted to go beyond
03:28his,
03:29himself, no, not completely conscious that he wanted to push it, you know, like to another,
03:37to another level, his life, his experience that someone that could not take no for an answer. He wanted,
03:44he wanted to, and I think somehow knowing Josh and the way he makes film on Uncut Gems, I think
03:52somehow it's a story of himself as well. A bit of it, of somehow, maybe I'm, I'm going too far,
03:59but I
04:00think there is a, there is a, for me, there is a bit of Josh Safdie in, uh, in the
04:06character, this great,
04:07great, uh, young man, young, young American man that has very strong belief in, you know,
04:15in what he wants to do and that going, you know, far like this, you know, or really want to
04:20push far.
04:20And it's also the kind of American dream. It's a kind of an American dream. You know,
04:26this is the way we see in Europe as a French man, the American dream. For me, I was really
04:31telling
04:32the American dream more than, more than telling a man going to out of space was a man going to
04:38out
04:39of himself in space in, in, in the world. You know what I mean?
04:45Excuse me. Sorry. I bought a pair of shoes here the other day from him with the glasses.
04:50Marty? Yeah. This woman said she bought a pair of shoes from you.
04:54Oh yeah. You bought the brown Mary Janes, right? Yeah, I did. They're great.
04:58How are they treating you? I wore them out of the store.
04:59Okay. So I left my old ones here.
05:01Okay. What do they look like?
05:02They were two-tone pumps, wing tips.
05:04Lloyd, did you see her shoes? No.
05:06Is it possible that you maybe put them in one of the boxes of the other shoes
05:09that I was trying on and restock them? Okay. All right.
05:13If I saw the boxes, I'd be able to recognize them.
05:14Do you mind if my colleague helps you out for a second?
05:15Lloyd, can you help with Mary Ann here? Sure. Sure.
05:19Yeah. We'll check the basement. Come.
05:21So this is what he was telling me and I was listening, listening, listening.
05:25Usually when a director talks to me, I, I don't talk back at the beginning. I listen.
05:30I listen a lot. And then when it's the right moment, I feel
05:34and if I need to say something, I say something. It's very important, you know?
05:39I love that. I love that. I hadn't thought about that as a, you know,
05:43you know, a metaphor for Josh's career. But you have to be a bit of a hustler to
05:48get ahead in this business, don't you?
05:50Yeah, you do. You do very much so. And he's a, he's, he's a bit of a hustler,
05:55but in a great way. I mean, I mean, he's a president of the great, the greatest
06:00filmmaking, you know, the young greatest presence of the greatest filmmaking in a,
06:06in new cinema, new American cinema, a new, new, new world cinema, full stop, you know?
06:12You know, I, I always hesitate to ask cinematographers about the film versus
06:18digital question because I, you know, it's, I, I, I feel like it's, it's just always variations
06:23on the same answer, which is you pick the right, the right story. Right. So it's just not that
06:28interesting to me, but you, I'm going to ask you because I, I read you, I read, you said at
06:34some
06:34point that shooting Marty Supreme kind of reawakened your passion for celluloid and for shooting on
06:42film. Can you talk a little bit about that? I'm, this is what I, this is what I feel. I
06:47completely
06:49recognize myself behind these words. Wes is very, was very adamant on shooting film and I had
06:56absolutely no resistance because I, I love shooting film and I shot film most of my life in very
07:04successfully in different, with different film director, different stories. So I love film and I
07:10love digital. Digital is a, is a, it's incredible way of expressing of a lot of filmmakers can express
07:18themselves telling a story in digital. So it's, so it's also great, but with Josh and some filmmakers
07:25in the world, film is a very important process. It's a very intimate, needed medium to work
07:34work with. And I completely, I recognize myself behind this as well. And when I shoot film for
07:42these filmmakers, it's very exciting. You feel that you're not just shooting film, but because now
07:50that film has passed a time in space and he didn't die, like a lot of people thought, and we
07:58thought,
07:58maybe it had, it happened to me too, that he would die, you know, and we're, and we're wrong. I
08:04didn't
08:04really think like that, but I had fears about it and film woke up, you know, went up. And now
08:13the,
08:13really the mercenaries, the great filmmakers should film, you know, some of the greatest filmmakers should
08:18film. Most, most of them actually, and shooting and the enterprise of shooting Marty made me, the way
08:29we started shooting tests, like we started, we tested Ectachrome. We, you know, I had a lot of
08:36investigation with, with other cinematographer who generously told me about Ectachrome and I shot
08:43tests with it. And I, and I, we, we liked it, but we felt at the end of the test
08:50with Ectachrome,
08:51we felt we wanted to do differently, you know, and there's also now VistaVision, which is very
08:57beautiful, but it was not the right medium for this particular film that needed a different kind
09:04of sense of working on, on set and cameras. And it was not proper for VistaVision, but both Josh and
09:11I love VistaVision and, and, and, and they're, they're, they're being, me films are being made
09:16in great ways in VistaVision, like, like The Brutalist and One Battle and Bugonia. I just,
09:24I just love the attempt of, of VistaVision. And I, I think we can go also much further. I watch
09:32the old VistaVision films, like Vertigo or North by Northwest Hitchcock films. And it, it, I can't wait to
09:40shoot VistaVision myself because I have lots of ideas on this, on this and how I want to,
09:46to do this, to do VistaVision. Anyway, so film became like a, like a normal language. It was not
09:54anymore film or digital. It was just film. And we're going to, I was just, so I was going back
10:00to my,
10:00to my, to my space, to my, to, to, to my nature, to things that I love doing. And by,
10:07by, by, by transforming,
10:10we, we tried different labs and we want to work with, we went to work with photochem. I love the,
10:17the, the way they, they, they process and the way they, they, they work with film. And I love the,
10:23the, the, the, they're really filmmakers. They're really, you were working with other filmmakers.
10:29So I, I, I, we, we loved working, you know, with photochem. And we, we, so we gave them the
10:34film to,
10:35to process and scan. And, and in, and it, it was a great, great experience. And, and I,
10:42and I started to do some pushing on the negative, you know, I, I pushed sometime half a stop,
10:48sometime a stop. And I realized by, on the test that I was getting some colors that were not
10:54there initially on the normal process on the way the curve of the, the gamma curve and the way it
11:02reacts normally, the way the film is set at the moment until they do another film stock. I would not
11:09get there until, unless I, I start processing differently, you know? So it became a very interesting
11:17process. And I, and I, and I, when I start to see the, the scenes, the skin tone, the colors
11:23and
11:23amazing color, the colors that Jack Fisk gave us and Miyako gave us for the question, I realized
11:31we're getting somewhere on film that we, uh, I forgot about digital anyway, because I do, I don't think
11:39I would have got there on digital to tell you the truth. I wouldn't have got there. It became like
11:45a,
11:45uh, like a paste, you know, like a, you know, when you paint, you have a, I'm not a painter,
11:51but
11:51I, I feel there is a stay layers, you know what I mean? So I, so between the, the, the
11:58haze I was
11:59putting on set and a filter, the type of filters I was putting on film and the processing, I realized
12:05the layers, we started to put layers and there the film was coming out. There, the skin tone,
12:12the texture was coming out and I felt we were doing something that was really exciting.
12:18You know, I want to ask you a little bit about lighting because obviously you're shooting
12:22anamorphic. That's a lot of glass. You just mentioned that you're putting filters in front
12:27of the, uh, in front of the lens. So, I mean, you, you obviously had to put quite a bit
12:31of light on,
12:32on, on, you know, the subjects in the film as well. Yeah, but it, uh, it didn't matter.
12:38Sometimes you don't always to put, you don't always need to put a lot of light, uh, on subjects
12:44in anamorphic. It's a wrong way of thinking people. All, all my life, since my, my early
12:51years, I heard, oh, anamorphic, you need much more light. Anamorphic can be also very minimal,
12:57you know, or anamorphic, you need big spaces, but anamorphic, you can tell a film at close
13:03doors and tell the story about three people, you know, in anamorphic. I mean, um, um, uh,
13:11Roman Polanski could have shot a knife in the water in anamorphic in a way with three people
13:16on a boat, on a, on a boat, in a journey on a boat, or, or, you know what I
13:21mean? It's like,
13:22uh, I don't know if it can be, can be a minimal thing. This important thing is that the great
13:28thing
13:28is the, the, the, the, the way it renders close ups. It makes people, it makes actors bigger than
13:34life, like black and white does, you know, like Orson Welles was doing in his movies. It makes
13:40people bigger. The real, I'm talking about the real 2.2 anamorphic, the real old classic anamorphic
13:47of the fifties, you know, the one that's really, uh, the color anamorphic. I wanted to go back to this
13:54feeling of the Douglas Sirk color immediately films in anamorphic. This is where I was after.
14:00Not that I wanted to copy this, but we wanted to go towards a color, like, um, like the fifties
14:07or sixties Ellen Levitt photograph, or, you know, in, in New York, we wanted to have a color that,
14:14that was like a fossil, that's something that doesn't exist anymore, that digital doesn't really
14:21render because it's just a copycat. You know, we wanted to go to something original and the glass
14:27you're talking about, the amount of glass you put on, on, in front of a camera is actually very
14:32important. It's very important. Anamorphic is like a magnifier. You know, it's like watching,
14:39um, it's like watching a really close character and, and Marty is seen through the film like that.
14:47And then Josh immediately from the beginning went on with our lenses. We, we tested long lenses.
14:54When we were testing long lenses, I didn't know to tell you, honestly, I didn't know
15:00at what extent we're going to use long lenses. So we tested, we brought thanks to Dan Sasaki and to
15:07Panavision. We had amazing lenses brought from, uh, Los Angeles and, um, we tested these lenses.
15:14There were, and we tested this lens that we had on the cut gem. That's a 300, 360 millimeter,
15:21uh, lens lenses. That's a really beautiful, uh, anamorphic lenses. And we used a lot of it,
15:30you know, we use 360, uh, uh, 280, uh, 250, uh, 180, uh, 200 millimeter macro lenses.
15:40We used, uh, I mean, we did wide shots with 75 millimeter anamorphic. We, it was very,
15:48just a great experience.
15:49This is a great experience.
15:52Okay.
15:54Service switches to Kletzer.
15:59Oh.
16:02Oh.
16:04Oh.
16:06Oh.
16:09Oh.
16:10Oh.
16:11Oh.
16:11Oh.
16:12Oh.
16:13Oh.
16:17Oh.
16:17Oh.
16:18lenses is a language is if you really take it like that like it's your like it's your family
16:25like you're you're working with with family with friends it's like uh you you write a it's a very
16:31beautiful language it's a beautiful writing you know what i mean absolutely i might be too confused
16:39no no no this is perfect and i i didn't want to quiz you about about the lenses that you
16:45use
16:45because i was so struck by the close-ups and and marty's yes and and especially for an an you
16:51know
16:51an anamorphic film i i feel like it's a it's a it's a unusual bold choice to to tell as
16:57much of
16:57the story in close-up as you do and so you know you know obviously that's yeah and this is
17:03just
17:03genius yeah yeah yeah but and it's you know the lighting there as well because you know often
17:12with very traditional hollywood kind of soft lighting for close-ups you know it's all about
17:16it's all about looking good but you you use the anamorphic in those lenses to really kind of get
17:22up close in in marty's face and timothy chalamet had some extraordinary yeah it was extraordinary
17:28makeup that they put on him and you really yeah the maker we you know glenn we we work with
17:36great
17:37artists i have to say we work with great artists our make a makeup artist hair and makeup the costume
17:45miracle they were just like we were just surrounded by it's like the seven i always call them the seven
17:52mercenaries you know like the the uh the seven samurai the the kurosawa film but i we work with great
18:00people but i mean obviously the actors are uh amazing by themselves so their their greatness of uh
18:07timothy chalamet comes out from himself for his from his from his passion you know he was completely
18:13into the character from the very beginning he was before me before anybody uh maybe not before josh but
18:21he was into the character you know he had trained ping pong for a long time he went into this
18:26character
18:27and he just became marty he just became himself
18:33so
18:36what are you doing
18:39are you out of your mind
18:41wow wow wow
18:46wow wow
18:47wow wow
18:49wow wow
18:49wow
18:49wow
18:49wow
19:02for us it's it's fascinating you know for anybody on set was fascinating because
19:07immediately he would come on set and he would be the character so you just leave him alone you just
19:13he
19:13comes in from the camera cameras because there are multiple cameras and he was the character so the
19:19of the close-ups shooting this it was almost like a document
19:24it was a fiction film but he was shot almost sometimes like a document not in the sense of uh
19:32improvisation but in the sense of uh in the sense of of truth you know there was something very
19:38true that was coming directly from uh his his shots his close-ups and guinness shots and
19:44and i know this has shots all the all the characters actually you know just just went on to takes
19:52and takes until even every
19:54non-actors would give themselves you know give the essence the few drops of greatness you know to to be
20:02in the film to you know
20:04tell me a little bit about your the the the contrast between how you shoot gwyneth and how you shoot
20:10timothy because you know gwyneth obviously is in this film she's playing a uh kind of a norma desmond
20:16kind of uh a big movie star from the 1930s yeah yeah
20:20oh yeah passed her prime but of course ironically you you shot gwyneth in her very first film
20:25seven and yeah yeah she's one of the great beauties of of our industry and she's look she's fantastic in
20:33this film um yeah you know so we're all in love we're all in love with uh gwyneth and the
20:41way she
20:42came into her characters so beautifully and immediately
20:46like time has no you know from the time she was a great actress of seven and all that to
20:53now she was
20:54immediately back at the same you know intensity and speed and she was just just amazing you know she
21:02she's she really belongs to the eternal so there's something eternal in cinema then when you watch a film
21:09you watch great actresses of the past and they are they are there you watch them on big screen and
21:15you see
21:15they are that you feel like you are you know time has no no imprint on the on them on
21:23the
21:23and this and gwyneth was like that she she was just very very she was just great she was just
21:30there
21:31she was it's like a musician giving the right tone she was immediately always in the right tone
21:37you know you know she was good in every take all the time from the beginning and her voice was
21:42just
21:42so beautiful she had this voice like Catherine Deneuve a voice like as very specific when you hear her
21:49she has a voice of beauty and but also of wisdom there's something very deep is a woman that you
21:56you want to meet you know she's like a great character and uh and just had the equal equal
22:06uh fascination and equal love of photographing her than i had uh at the time of seven really
22:11he didn't immediately you know and it was just very exciting for me to see that i i feel like
22:18this movie is very much in love with faces and you yes also you also have the challenge of working
22:23with a lot of you know there were some non-professionals in here some people that we
22:26don't normally think of as as you know as acting you know i was very surprised it was like i
22:31was
22:32like wait a second is that pen gillette in this in this yeah i was just thinking great face he
22:36has
22:37and then the park what a treat for you yeah yeah i know i know just we were all so
22:44exciting and also
22:45jennifer venditti the most amazing you know casting director we're just so exciting because he was
22:52there all she was there all the time with us and and josh was telling me look at the policeman
22:57look at
22:57look at him it looks like a photograph of ken jaco look like a photograph of the of the time
23:03of the
23:03people you know and uh and uh you know it was just amazing and pen gillette i remember the first
23:10time
23:10he came over he was like scary i was scared by him because he has such a great he has
23:16such a great
23:17presence and immediately himself he's not an actor but immediately his aura who he was came out on film
23:25right away right away so you were not joking with him you couldn't you were that you were like i
23:31was
23:31like behind the camera and we're just like whoa you know he's just very very strong very scary so the
23:38scene you see in the film it's almost like real it's like a document you know i don't like using
23:44the
23:44word documentary so i use the word document as you can tell i love you know doc i love document
23:50like
23:51i love fiction but for me it's a it's a very blurry line between documents documents and fiction
23:56sometimes it's the same so when i was with pen gillette was almost like filming him with two
24:02cameras and we don't know exactly what's going to happen you know it's just very very exciting and so
24:08it was the same i'm glad you brought it up it was the same with uh a lot of these
24:13these uh non-actors
24:15you know characters you know characters they were just so great you know philippe petit i remember
24:20philippe petit who who walked between the buildings was this amazing funerbule he was so good he was so
24:29you know electrifying when he was talking on the mic and presenting you know and and and abel abel
24:38who was uh for us in france is like a myth he's like an iconic myth film director we all
24:45just so i
24:46was really scared by him i thought he was a most scary person and most dangerous person or whatever
24:51i was just fantasizing on this because of his movies you know and then i saw this nicest sweetest man
24:59and just just so passionate about cinema you know i so immediately i understood why why josh wanted him
25:07in the film in this character you know he was just so great everything was very it was like a
25:13john
25:13ford film in you in in the sense of humanity you know you know in john ford's film the humanity
25:21of
25:21the characters or or genre noir film there was something very humane very very strong there and that's
25:27what i feel comes across beyond the the the the brightness of the greatness of the film and the
25:37cleverness of the film is the humanity of the characters it's very important i think you know
25:43and like people like abel or or or pendulate but there's so many of them you know well darius one
25:51of
25:51the things that i've always loved about your photography is the way you use shadows and and
25:55pools of light to kind of guide the attention and the eye of the audience and and of course there's
26:02some great moments like that and i'm thinking about the the the the the table tennis tournament in
26:06london that just gave you some beautiful opportunities to play with pools of light and
26:11and this was such a treat for the eye tell us about shooting some of those some of those sequences
26:15well this is how uh this is how josh wanted wanted the the scenes to be this is how he
26:23told me
26:23he told us about wembley and this is how the all the conversation we had with uh with jack fisk
26:30about
26:31you know laying laying out the the the tables and the way they would look and we talked we thought
26:37we
26:37talked about the lights and then with our amazing gaffer ian kincaid and we talked about the light about the
26:44mushroom light the way we're going to light we shot some tests and we found out that the original light
26:50that was actually lighting at the time the
26:53the actual tanks and light the accent 500 tanks and bulbs you know that were on the table was the
27:00most beautiful on skin tone on film on film and the way we're processing the film we thought it was
27:07the most gorgeous way to light was like to a boxer boxer ring of boxing you know that's why i
27:14i i talk about george bellows uh series on boxing because they reminded me this kind of flux of light
27:21of light coming and lighting
27:23and falling off around and falling off around and falling off around and seeing the character sketchily in the dark
27:28coming out in the dark and i just found it a very uh striking very proper very right for the
27:35the moment you know and um and jack is jack is jack is everywhere jack fisk is everywhere
27:42in all this because he created this world for us with uh all the tennis tables and this uh in
27:50greatness you know i mean working with him was really really special amazing you know we we made a very
27:57good pair it was very we worked together like very very close i don't like saying like brothers because it's
28:04a cliche saying brother but i felt very very close to him all the time you know very very tender
28:11i feel like that it's a strong feeling of work and it's a strong feeling of work of work of
28:14of the fact of working together you know on the same thing for for a director
28:18yeah i'm glad you brought up jack uh fisk the who's obviously just such a legendary production designer
28:24i i cannot not bring him up he's like the echo is like yeah yeah yeah but i because i
28:32wanted to ask you about he his stunning recreation of the street in 1950s new york and how much how
28:40much how much
28:41much fun that must have been for you to shoot and obviously those are very kinetic scenes so
28:45you know and prepare it prepare it because i was looking we were going in the street talking about
28:52it how what we wanted to and even though we worked immediately very well together with jack
28:58i was sometime i was thinking well i'm talking to jack fisk maybe he knows i don't need to tell
29:03him anything and he was always very uh he had no um no ego at all we worked with him
29:11very openly he
29:12was ready to to to we could ask him anything we needed or we wanted or we thought would be
29:18good
29:19but he had generally thought about it and was always going further in the in the thinking you
29:26know and i was thinking but how are we how the hell are we going to recreate this this doesn't
29:32look
29:32the new york of today doesn't look like uh new york of the time so i had my ideas of
29:37it but jack
29:38you know he he gave us everything for for i mean we were we were the great producer but um
29:47you know eli bush and anthony katagas they were great pair of producers that were behind us all the
29:53time but jack actually really gave us everything we we we wanted everything we needed with the money
30:01we had it was just uh very it was everything was working really well i think it's very important
30:06that you you do a film you know you you you dream big like in the film but you do
30:13it with the means
30:15what you have and then you extend it and you make it greater you know but uh it was just
30:22a great great
30:23group of people together it's very important to point it out on this film a great group of not only
30:31their talent of course these producers are great this production designer is greatest you know of course
30:37and and but we they were all one uh common denominator was the passion everybody was passionate i i saw
30:48it
30:48like i saw it like everybody was around me was listening to josh and you know falling like they
30:55were writing all the time josh and ronnie was writing passionately about the new scenes how they could
31:01make it better and we did eli they were all working together it was just amazing uh to to witness
31:08you
31:08know i love the way the production design and the cinematography also you know are contrasting and tell us
31:14so much about the characters there's the grittiness and kind of the just the detail and the the harshness
31:21of the those new york scenes but then you you have that sequence in paris which is so beautiful and
31:26lovely thank you it makes me want to live in 1950s paris that scene thank you again oh that makes
31:34me very
31:34happy because we were we were very nervous about it we started the movie with it and it was very
31:40we were
31:41always very nervous because create paris so we made it rain under the rain and it was kind of rain
31:47and
31:47sunny a little bit and it was just very interesting the way we we made it so you you you
31:53like you you
31:54enjoy it you like it you are in paris right i like i say i want to live the rest
31:58of my life in 1950s
31:59paris but the way you the way you shot it i love the new york i love the new york
32:031950 actually
32:06tell me uh tell me about your the way you approach um the digital grading of the film
32:12um with whether i mean how involved how involved are you with the grading first of all let me ask
32:18that i'm very involved with the grading and and we're all very involved with the grading i mean
32:23josh was here at the grading even ronnie the writing with josh was here at the ring our producer eli
32:30bush
32:30and tony katagas they were at the grading we were like a bunch of friends we always wanted
32:35to be together and following this process together but we had an amazing artist at the grading we had
32:43even lucas i've worked with lucas i love i love yeah yeah yeah even even started with me on my
32:50short
32:50films my short film in france then we went on to do i'm not going to mention all the drop
32:58all the
32:58names of the movies we did together but we did all our movies together all the beginning then we
33:06went on to seven together then we went to italy to spartolucci together then we we went on to do
33:13most of our movies together and then sometime we would not work together for a few movies and we'd come
33:18back again and work movies together we did lost uh lost city of z okja together with bonjour
33:25and uh and very luckily i did we did eddington together it's a great film i did just before
33:31just before um ariaster's amazing uh modern western we did in new mexico just before marty and um
33:42even did both films and both films are very different they're completely different in in the color scheme
33:49in the contrast in a way and um and uh and and and and even is just this uh he's
33:57just this this extra
33:59incredible artist he's just this this very special artist so we were with him and even even and i we
34:08had a we have a relation since always and he's great because he doesn't uh how do you say in
34:14france uh
34:15brush me in the sense of the air you know sometimes he's uh he's how do you say in uh
34:21in english he
34:22doesn't always say yes he's not a yes man he really listens to me you say okay and then sometimes
34:28you
34:29say no no no no no you know i mean it's like he's a great uh person a great uh
34:35person to talk to you
34:36you know when you when you when you do color like this so sometimes we have conflicts even you know
34:41but it's um the result is here you know he's just uh a great person so we had on the
34:48on marty we had
34:49with artists like this what great great person around it's very important the casting of these people
34:57but you know they're all passionate even right from the beginning you know like he like he loved eddington
35:05he loves the he loved the marty said wow that's amazing and then immediately just could talk to
35:11yvonne he didn't mean me sometimes you know he just well that's i i love it when you know you're
35:16working with a filmmaker at the top of his game who understands that all of these you know i think
35:22it's it's a common mistake that people refer to them as technicians but these are all artists and
35:28storytellers themselves right and they understand the value of story and how to use these tools to tell it
35:33yeah i know i personally me personally i never refer myself as an artist because i'm french and i feel
35:41very shy about for me artists are poets musicians painters and some filmmakers some film directors
35:50in the history of cinema like you know josh for me is an artist uh you know art is an
35:56artist there are
35:56few artists you know but uh i don't know i'm i cannot talk about myself but i work with people
36:03and i use the word artist like you like you do in america because i i love the word you
36:09use the word
36:09artist and it's only to to complement the people the people who give themselves to the to their craft
36:17you know so i i love the way you you you use the word artist yeah you understand what i
36:23mean i do i do i do
36:24i was i some people would call you it's strange for you right yeah yeah oh yeah but i i'm
36:30unable to
36:31talk about my work and myself i'm very very embarrassed with it well i there's another
36:38question i wanted to ask you about the grading you know you you obviously you love dark rich inky
36:44blacks um and i remember having some conversations with david uh fincher back in and when we were
36:50working on film about bleach bypassing and different processes to get those to get those really
36:55rich blacks and so i'm just kind of curious you know is that something that you explore
37:00spend a lot of time exploring in the digital grade and obviously with you know with technology like
37:04dolby vision you can get a lot of contrast uh and and dark rich inky blacks in the grade
37:10oh dolby vision dolby vision is an amazing amazing modern uh tool for filmmakers
37:16filmmakers and for cinematographers too it's like a very amazing tool yeah it's it's our way to
37:25it's our way to to do the the to do this this inky blacks is what i used to call
37:33the what i call the
37:34china black you know china ink black uh when uh digital didn't exist for di i was using the color
37:42bypass process or the enr process to to opacify the the prints or the negative or the print in order
37:52the light not to be able to light the same way everywhere that's why i was also flashing the
37:58negative and now you got me into talking technically i always you got me um but um but uh the
38:07dolby thing
38:08is a very interesting instrument but you know you really need to drive it you really need to of
38:15course there are experts of dolby that work with you and uh but you need to have a very good
38:21sense of
38:21how you do dolby vision you know in order so it's not too bright or too uh brilliant too shiny
38:29too bright
38:30you know i i would like to do all my movies all my movies i photographed dolby personally because they
38:37give you the the the the latitude they give you the they give you the contrast you can have the
38:43whites
38:44and the blacks you want but you need to have a very discriminating way of uh taking you know
38:51the way how you uh come on about the how do you get into this the this this thing you
38:58know it all be
38:59is not for uh for just everyone and uh it's for people who really want to bring filmmaking to
39:06another level you know to to go deeper in the in the in cinema you know so you need to
39:13go there
39:13you enter to enter that space with uh a great uh conscious of what you're doing you know and but
39:22dolby is a fantastic tool fantastic tool i yeah i i i i agree with the way you talk about
39:29that in
39:29terms of the blacks but you also you're darius you're not afraid of some contrast as well i
39:33remember you know the shot where they get off the plane in in japan and you know and you're shooting
39:39right into the sun and it's it's you know it's it's stunning in a in a way which thematically worked
39:45with the character and where he was at that point yeah but thank you we we love it with josh
39:50josh josh and i
39:51we have common taste for that for for boldness bold boldness of uh uh camera work yeah he's he's
40:00uh you cannot find more bold than him when you're with him make shooting a film it's incredibly exciting
40:09for cinematographer yeah well darius uh we're at the end of our time thank you so much for coming on
40:15the
40:16dolby podcast today and talking to us about marty spring congratulations on your well-deserved
40:20oscar nomination and i just want to thank you i just want to point out you you had a hell
40:24of a year
40:24you talked about eddington which was uh you know a great but you also shot you shot mickey 17 which
40:32i
40:33it's one of my one of my favorite movies from last year and it looked amazing gorgeous thank you
40:39thank you thank you thank you very much bong jung ho is the one of the greatest uh artists and
40:47poets and artists of filmmaker that exists on this planet is almost like from another planet he's
40:54incredible yeah so just very lucky to work with him well three three very different films from three
41:00very different film very very powerful directors very bold visionary directors that you worked with so
41:07i feel like you're i feel like in some ways you're just getting started darius it's been
41:10it's it's very exciting year for you thank you thank you for telling me this this is how i feel
41:14every project i take is why it's very important yeah thank you for understanding this absolutely it's
41:22been a pleasure talking with you darius pleasure for me too thank you glenn many thanks to darius for
41:28joining us on the show today it was such a treat to have this conversation and an extra special thanks
41:33to
41:33our friends at a24 for helping us put this conversation together and for providing those
41:37clips be sure to check out marty supreme which you can watch in dolby vision and dolby atmos where
41:42available it's now available to rent or buy for at-home viewing in addition to still being available in
41:47theaters we'll have links as always in our show notes and as i mentioned up top this episode is part
41:53of our ongoing coverage of the 98th academy awards coming to you live on sunday march 15th from the
41:59dolby theater here in hollywood as we do every year we've been hosting many conversations with
42:03the nominees in sound cinematography and original score categories so be sure you are subscribed to
42:09us here at dolby creator talks you can find links to our show on all the major podcasting platforms
42:13including the video version on youtube and our show notes or you can simply search for dolby wherever
42:19you get your podcasts if you're curious to know more about what we do at dolby creator lab head on
42:23over
42:24to dolby creator lab dot com there you'll find information about all of our programs you can
42:29access the entire library of episodes of the show and you can sign up for our mailing list
42:34until next time this is dolby creator talks i'm your host glenn kaiser our producer and editor
42:39is michael coleman our executive producers are amanda schneider and jack ferry with additional
42:44editing by matt nixon and our production coordinator is karen khan thanks for joining us
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