From Film to Digital: What the Transition Means to Two Quebec Filmmakers
This past September, during a panel discussion for Industry programming at the Toronto International Film Festival (TIFF), four up-and-coming filmmakers shared their thoughts on the ever popular topic of debate: shooting with film versus shooting digitally. Two out of the four guests on the panel were Quebecois filmmakers, including Jacob Tierney and Mathieu Denis. Both had made films the old school way, shooting on film, but for their new features, they opted for the digital medium. While they shared some interesting points regarding their own preference(s) and the future of filmmaking, their perspectives were quite different from each other.
Montreal native Jacob Tierney, made his feature length film, The Trotsky (2009) on film, and is probably his most famous work to date. Tierney said he actually fought to have this movie shot on 35mm, while Preggoland (2014), his most recent feature, was the first film he shot digitally.[1] Preggoland follows a young woman who essentially plays the sympathy card as she fakes a pregnancy, quite far from his Leon Trotsky inspired revolutionary-youth flick, The Trotsky. His description for the look of shooting with digital technology was quite harsh, suggesting it appeared sloppy.[2] For Tierney, he explained that the look of digital, “aesthetically doesn’t appeal to me” adding, “it just doesn’t look like a movie…” a fair argument considering everyone is entitled to their personal aesthetic preferences to shoot with selected mediums.[3]
In the case of film specifically, artistic choices regarding the filming medium, contribute greatly to a filmmakers’ distinct style. Adding to the conversation with regards to the recent changes in cinema, Tierney stated, “I would say the thing that has changed the most is exhibition, or the way we watch movies.”[4] Certainly the transitions from film to digital and theatrical screen to laptop screen are the two hot topics of the past decade. Tierney expressed his disappointment in the theatrical viewing experience, “I feel ripped off at theatres, I don’t like watching 15 minutes of commercials when I’ve already paid 15$ to get in.”[5] For a relatively young filmmaker who must advocate for the theatrical distribution and viewing of his own work, the challenge of trying to get his film seen must be daunting. If even our filmmakers don’t enjoy the experience of going to the cinema more than snuggling in at home in front of HD TV’s, then why should audiences still go to the theatre?
Mathieu Denis (Photo by Olivier Jean for La Presse Archives)
Alternatively, Quebec filmmaker Mathieu Denis sounded more hopeful in his perspective on the theatrical viewing experience. Denis evidently still has belief in the power of the large screen. He explained that he actually does his films “for a big screen” because “the most interesting way to watch a film is in a theatre...” adding that “on a big screen, you can gaze over the [image].”[6] With screens getting larger and larger each year (think of IMAX and Ultra AVX size screens), viewers are forced to gaze at different parts of the screen, which likens the film scenes to a real life experience, wherein you would be gazing around a room.
Like Tierney, Denis only recently shot his first digital film, which happens to be his first full-length feature, Corbo (2014). Set in Montreal, in the historical context during the rise of the FLQ separatist group, the film follows the factual story of Jean Corbo who, as a teenager, is swept up into the politics of the time. After shooting Corbo on digital, Denis confidently stated, “I’m not going back to film” arguing that you can save time and you can shoot longer takes easier with the digital format, rather than wasting reels by shooting long takes on film.[7] Not to mention, there is also the added cost benefit to shooting digitally.
Denis still has a nostalgic soft spot for the old medium because he said, “I still like the quality and texture of film,” but added that if we are to shoot digitally we have a challenge to make the image, “nice looking.”[8] If Denis can shoot a film that looks as beautiful as Corbo does with digital technology, then surely all filmmakers can learn to appreciate the benefits offered to strive towards a rather “nice looking” picture.
Ultimately the debate of whether to go film or go digital comes down to aesthetic choices, however budget can certainly have a large stake in the decision making process, since there is a considerable cost difference between shooting on film, which is usually more expensive versus shooting digitally. For now, the last few “film” features will be made on film, and then gradually the shift will likely transition wholly to the digital format. With rapid digital growth it seems that technology is advancing so that frame rates will continue to increase, as will display resolutions and theatrical screen sizes, so, now, if only the audience sizes grow can we expect cinema to thrive.
Oneida Crawford
[1] Tierney, Jacob. “Telefilm Canada’s Talent to Watch: Maps to the Talent- New Directions for New Directors.” Toronto International Film Festival Industry Programming. Glenn Gould Studio at CBC, Toronto. 5 September 2014. Panel discussion.
[2] Ibid.
[3] Ibid.
[4] Ibid.
[5] Ibid.
[6] Denis, Mathieu. “Telefilm Canada’s Talent to Watch: Maps to the Talent- New Directions for New Directors.” Toronto International Film Festival Industry Programming. Glenn Gould Studio at CBC, Toronto. 5 September 2014. Panel discussion.
