Winter's Bone R: Debra Granik Land: USA 2010 Drehformat: Red Format: 35mm, Farbe Länge: 100 Minuten Sprache: Englisch mehr Informationen

Verzweifelt sucht die siebzehnjährige Ree ihren Vater, der untergetaucht ist und das Haus der Familie samt Grundstück verpfändet hat. Wenn sie ihn nicht auftreiben kann, wird sie mit ihren kleinen Geschwistern und der kranken Mutter auf der Straße stehen.
In den Wäldern der Ozark Mountains spielt dieser Film. In einer Welt, die aus der Welt gefallen zu sein scheint. (...) In Winter's Bone findet die Regisseurin Debra Granik große Bildtableaus in der Tradition der amerikanischen Sozialfotografie der dreißiger Jahre. Es sind Bilder, die die Armseligkeit dieses Lebens nicht ausstellen, sondern dokumentieren. Vor einem Hintergrund, der stets in der Wirklichkeit verankert bleibt, erzählt Granik die klassische Kinogeschichte einer Heldin, die über sich selbst hinauswächst. [aus dem Forumprogramm]

How would you describe the aesthetics of your film?
The aesthetics of Winter's Bone are in the tradition of neo-realism. The locations were full of texture: gravel, dust, frayed wood, twisted branches, rusted metal. We wanted the texture of this world to be recorded and to set the tone. We embraced the palette that we found there, and used real homes, and props and clothing that we found in the area where the film is shot. One of the elements we wanted to make palpable was the feel and tone of winter -- both the kind of light and the cold. We wanted to be able to fit into small spaces and to keep up with the actors. To do this, we used very little gear, very little special equipment, no huge lights.

Why did you choose Red over other HD formats and analogue film?
We chose the RED because it is accessible. The RED is a small fraction of the cost of the other comparable HD cameras. I have never shot on 35mm film stock, but the fact that we could use 35 mm prime lenses on the Red body made the body seem less significant than the type, power, and range of the lenses.

What was special about shooting with Red (e.g. compared to 35-mm or
other digital formats)? Was it your first time with Red / digital or are
you used to it?
This was our first time with the RED camera. We had to have an experienced Red technician work with us on the shoot. He was a CRUCIAL member of the camera department. What seems special about the RED is the ability to shoot long takes and to keep moving. It is a big and bulky camera, but the strong, balletic, dedicated operator, Al Pierce, could wield it around and sometimes it felt like we were able to try variations, capture small wonderful gestures by not being locked down. I am not really answering your question about what is special about RED as much as describing how we worked.

What was your shoot-edit ratio?
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Why did you transfer the film to 35mm?

We transferred to 35 for three reasons:

1. Many festivals still project 35 mm, and the images look strong projected large.

2. The rate of film and flicker still does something to our perception that allows us to enter a fictional world.

3. It was important to see the end result of the hybrid format. We needed to know for this and future projects, can there be a good marriage between this powerful high res recording instrument and the luscious grain and pace of film.

One good word about Red (or two):
Did not lose any 1s or 0s

One bad word about Red (or two):
It crashes and initializes when it wants and without warning.