2 September 2012
Chris Kenneally‘s SIDE BY SIDE – a documentary about The Death of Film and The Takeover of Digital is well worth seeing. If for no other reason than to marvel at how our little Keanu (Reeves) — the film’s co-producer and on-screen interviewer — has grown up.
Most fascinating for me was witnessing the passion with which our contemporary masters — David Fincher, Christopher Nolan, Steven Soderbergh, George Lucas, James Cameron, Robert Rodriguez, Lars von Trier, David Lynch, Lana and Andy Wachowski — along with a handful of talented indie filmmakers, spoke about the good and the bad of digital’s ascendance. At the core, it seems to me, is the question of control — with digitization came unlimited manipulability of the image, as well as flexibility: without the physical encumbrances of film and film cameras, cinematography has become a whole new thing, and for some, that whole new thing is miraculous, while for others, it is no longer Art.
I was also intrigued by the discussion of pacing: it used to be that you’d shoot a full day and wouldn’t know what you had until the next day, when the crew got together to view the “dailies,” after the film was processed overnight. You also took many breaks throughout the day to reload film magazines. With digital, the shooting process changed drastically — for directors, cinematographers, actors (and later, for the editors and colorists). Everything happened faster, and continuously. Everything that was shot could be viewed, by the entire cast and crew, immediately. The camera kept rolling and rolling, because why not — the pressure to conserve precious, expensive film had disappeared from the process.
We all know movie making has changed; SIDE BY SIDE details those changes and how everyone involved in the process has been affected. The film is making me think about the process of art-making, about the fundamental relationship between an artist and her materials, her media — about what it means, really, to be “free” to create meaningful art.