Westworld - Westworld | News | Ratings #1: For all your news.

la villanelle · 04-30-2017, 07:52 AM

Westworld
News & Ratings

ina_am · 04-30-2017, 01:20 PM

Thanks for starting

la villanelle · 04-30-2017, 01:26 PM

No problem

kayrey · 05-02-2017, 01:11 PM

Thanks for starting.

I think these are the 2 biggest pieces of news we've gotten about season 2 so far.

**a fine mess** · 05-02-2017, 03:29 PM

Dolores' dad.

I really like him!

la villanelle · 05-06-2017, 07:43 AM

Do we have a date for it coming back yet?

**My Kind Of Crazy** · 05-06-2017, 03:06 PM

should we start threads for them since they will be series regulars ?

**a fine mess** · 05-06-2017, 06:17 PM

I think that would be fine, Jenn.

kayrey · 05-07-2017, 08:50 AM

I don't think we have a date for season 2 yet.

Quote:

Originally Posted by chasing the sun (View Post)

Dolores' dad.

I really like him!

Me too! He was fantastic!

**My Kind Of Crazy** · 05-07-2017, 04:33 PM

Quote:

Originally Posted by chasing the sun (View Post)

I think that would be fine, Jenn.

ok i created threads for them

kayrey · 05-07-2017, 05:39 PM

Awesome. Thank you!

**My Kind Of Crazy** · 05-07-2017, 05:49 PM

your welcome

playgroundDiaries · 05-14-2017, 08:49 PM

Both of those characters were top-notch. Glad they'll be back.

**My Kind Of Crazy** · 05-15-2017, 05:41 PM

Paul Cameron on Shooting Pirates of the Caribbean 5, Westworld | Collider

Quote:

I can imagine. Well you also shot the pilot for Westworld, which I thought was terrific and really set the series off on a great path. What was that experience like and how does the TV experience differ from film for a cinematographer?

CAMERON: I mean for me working on Westworld was a great opportunity. I worked with co-creator and showrunner Jonathan Nolan and his wife Lisa Joy, co-creator and writer as well, and from the onset I didn’t really see the difference. I didn’t think of it as doing television or feature. I knew the expectations were high on the project and we were shooting on film and the cast was gonna be an A-level cast and we were gonna build a Western town and a good number of sets that they could use for the series, so there was a lot of pressure to put together everything from the actual operation center in the Westworld park all the way to the Western town in Santa Clarita and all the tie-ins to Mojave Utah with horses riding and reverse angles with one set wall to tie in a background. There was kind of an expectation overall to give that project a big cinematic feel, and it’s kind of the same way you would on a smaller film I think, or certainly television project. The standard for specifically cable TV and now we’re seeing it with network TV even more is the visual bar gets set higher every year, so we’re seeing projects on HBO, Showtime, and Netflix etc. that look as good or better than a lot of feature films out there. There’s a lot of talented people working in that arena, and we’re seeing a lot of crossover of feature TV director of photography, so certainly the stigma of shooting television versions features is long gone.

Absolutely. You see Rodrigo Prieto shooting a pilot for Martin Scrosese, which is insane.

CAMERON: I know I mean it’s crazy, Scorsese directing a pilot. I don’t think we ever thought that would happen.

You mention you guys shot Westworld on film, but you were also at the forefront of digital technology working on Collateral. What’s it been like for you seeing the evolution over the last decade or so?

CAMERON: Well I think it’s been a challenging decade or so for the transition to digital capture in general. Looking back on Collateral I certainly approached the project as I wanted to shoot on the best stock I could find. What stock would be able to render the city in this kind of acidic, acrid, metallic, electronic vibe? Michael Mann had mentioned he had shot a couple scenes from Ali on the Sony 900 and he was producing a television show at the time they were shooting, testing on the Sony 900, so I did some tests and fortunately we had a 2K projector in a screening room available to us. We were able to directly color-correct and transfer the Sony 900 material and look at it against the various film stocks and chemical processes that had tried to emulate that look, and it became this pretty quick decision that the Sony 900 was the right stock. That was the way I looked at it, it wasn’t beginning to shoot digitally although there was a little buzz about people considering shooting things digitally. Star Wars was gonna use it so the buzz was just starting, but for me it was just picking the right stock. For me it hasn’t changed to this day. I get a project and I think about should I shoot it on film? What stock would I shoot it on? If I’m gonna shoot it digitally what camera would I shoot it on? It’s the same thing with lenses. So basically it was more of a transition at that time for utilizing the technology that was best at the time.

**a fine mess** · 05-20-2017, 09:49 PM

Thanks Jen for the interview!


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