Collateral

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eyeglayze

Member
First things last. Can anyone tell me where to find the trailer for Collateral with the Alice in Chains song in the background. I have seen it once on TV and once in the theatre and cannot find it. It is not on the site.

*Don't read if you have not seen it yet, a few spoilers ahead.*

Anyway, M. Mann is slipping but first lets get the tech stuff out of the way. THis film looks amazing. THe muddy and murky blacks, the grain, and the colour look fantastic. I think it was a pretty brave choice to shoot Digital considering
how video handles black and this was shot entirely at night. Even in HD blacks are muddy at best and usually I don't go for it but this looked moody and it worked.

THe premise of the whole film sounds simple enough but some of plot turning points and characterizations go for a bit of fantasy trip. I was with the film up until the first hit magically falls onto his cab(what luck). Then Vincent(TC) comes down and, obvious to the hitman code, lets Max(JF) live along as he plays limo driver for him, in damaged cab where everyone will notice. That is what every hitman wants. I know nothing of hitman code but this does not sound right.

I am not one for being a stickler about things like this. I like to let the film take me for a ride, but this film is full of **** like this, crazy coincidences and convenient and device laden plot points. What upsets even more is that I really like M. Mann.

I don't want to keep on going about the suspension of disbelief this film puts you through. But it bothers me that this film is shot with a semi realistic approach and not to frilly attitude but the narrative takes for fantasy ride.

The subplot of the cops trying to figure out what is happening is done quite well. Just a couple of cops trying to figure out what is what without anyone having a clue.

The ride itself is quite fun and crazy intense. I will admit it was hard to believe Tom Cruise as hard edge hitman and only up until the end did I actually accept it and look past his "boy next door do the right thing all the time persona". Jamie Foxx clearly outclasses him.

In the end I will back this film, but it is not with big problems.

I would like to hear some people's view on this film.

Thanks

Respectfully

Eyeglayze
 
Re: Collateral

Here's a link with two trailers on the site. It might have the trailer you want to see. http://www.apple.com/trailers/dreamworks/collateral/
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I liked the film for the drama, and intensity of the characters, but found some of the plot points to be weak.. I mean all of a sudden there were like 3 or 4 squad's of FBI made up of like 8 guy's each (24 Agents) all converging on the witness, they flood into the club with there machine guns' I'm thinking it's all over for them , loud music, loud music, flashing light's ( boom FBI agent take's a bullet and then get's dragged of by another agent and gone, No more FBI for the rest of the film ( what the hell) and cruise just stands in the open shooting people (no one clipping him) (no one seeing him) and then gone he's outside. ? I don't know I expected a little more I guess. for a 60 million dollar film. but I guess that's how it is, keep the movie moving and story in the back. However I still liked the film, jamie fox was great, and tom cruise pulled off being a bad guy, 4star's
 
Re: Collateral

The IMDB should say that it was shot on HD
The lastest American Cinematographer has a huge article about it.
All Exteriors was shot on HD 1080 24p.  The interior set pieces(not clear which ones these are) are shot on 35mm.  I assume these would be the jazz club scene, 1st club scene and 2nd club scene.  These are just speculative.
Yes the final viewing is a film projected HD transfer.

THere it is.

Respectfully,

Eyeglazye
 
Re: Collateral

Am I going nuts, or does it not look VERY MUCH like 60i HD transfered to 24P film?

I would have sworn it originated in 60i, judging by the trailers I've seen. Yet the IMDB *and* apparently AC say it was 24P....weird.
 
Re: Collateral

Well, a little late, I know, but I just saw this tonight.

I stand corrected, obviouisly 24P with a slower shutter in the scenes I thought were 60i. I got ahead of myself there :P

Overall, I loved it! I didn't know much going in, but thought it was completely awesome. Cruise and Foxx made great leads, and I was on the edge of my seat. Definitely very good.
 
Re: Collateral

If you haven't yet, pick up the August 2004 issue of American Cinematographer. Buy it purely for the article on Collateral, you'll find it worthwhile, informative, and very interesting.

The article discusses everything from how the filmmakers decided on which 24P HD package to go with - the Thomson Grass Valley Viper Filmstream, Sony/Panavision F900, and the Sony F950 - to the advantages of shooting HD, and the challenges inherent to this medium.

The article was particularly enjoyable because I was able to understand many of the technical aspects and subject matters discussed (4:4:4, RGB, etc), something that I'm sure many of you will too because of our DV background, whereas with many of the magazine's articles on film, I admit there is a lot more I need to learn on that end (Kodak stock what?).

For example, on page 47, they describe a situation where the image they were getting was severly muddied for some reason and only after some troubleshooting did they discover someone had accidentally bumped the filter dial wheel on the Viper camera - something we're aware of and try to avoid on the AG-DVX100 but the guys who're used to film cameras weren't! How many times have we discussed protecting this dial or that button on the AG-DVX100 against accidental movements, something which Panasonic finally addressed on the AG-DVX100A?

The filmmakers had to get used to shooting with this new breed of cameras, and it made me feel good to know that we have some experience of these matters, even if on a very small level.

The article goes on to describe how the filmmakers were also pleasantly surprised at how easy it was to manipulate settings and menus on the fly, once again, something we have a head start on over those in the film world.

In any case, check out the article for an informative read.
 
Re: Collateral

A $60 million film? Wow. I would have guessed 20 mil at most with a large portion of that going to Cruise and other cast. While watching this film I couldn't help but think how simple and cheap making this thing would have been for a indy. Don't get me wrong, I liked the film and thought that the acting and plot was above average and carried it. But no big special effects, no big sets, just using the already existing city and maybe $100K worth of cars. 60 mil seems very high for what they did.
 
Re: Collateral

Still, if you take Cruise out of the picture the rest shouldn't have been more than 5-10 mil. What am I missing?
 
Re: Collateral

Fox and all other actors in the film need some Jack too. But I know what you are saying...where in the hell does all the money go? How many times have you listened to a director's commentary on a movie (with no high salary stars) and they are constantly saying "If we would have had more money we could have done this or that" and then you look at the budget and say hell you had 20 million.

BTW. LOVED THIS MOVIE!
 
Re: Collateral

My personal belief is that Hollywood pads official production costs and reports them higher than they actually are to avoid tax issues or contractural net payments with cast and crew. Helps them line their pockets more.

Regarding Collateral itself though:
Does anyone remember the interior club scene? When I was watching it, the footage suddenly seemed different to me. Like maybe it was shot on 35 for that scene alone? Anyone else have this feeling?
 
Re: Collateral

I was too busy watching the action of that scene to notice. But I think I remember Jarred went to to see it with a DP friend of his and he said that some scenes were shot on 35mm. Maybe that is one of the scenes.
 
Re: Collateral

I think eyeglayze has commented on this. All the exterior shots are we're shot on HD 1080 24p. The club scenes we're shot on 35mm, thanks storyteller i couldn't remember if the other scenes we're HD or 35.
 
Re: Collateral

I don't know if I agree with that about "all" the interiors being shot on 35. In the third act, the interior of the train, the office where she worked were absolutely shot on HD. You can tell just by looking at the footage. But I suspected the interior of the dance club, possibly even the jazz club were shot using 35.
 
Re: Collateral

Great article. I'm starting to see where all their money went with all the stuff they had to have custom made to capture the HD. It's nice to see them struggling with a lot of the issues we struggle with, this will eventually help create solutions and techniques that will trickle down to us.

I love this quote about shooting in the office building:

"For that sequence, we used the Viper and F900 alternately and sometimes pushed them both to the max [+9dB and +12dB, respectively]. It was remarkable! We were literally shooting in levels you could barely see with the naked eye. It was a bold use of the cameras, and I break into cold sweat just thinking about it."
 
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