MovieChat Forums > Zelig (1983) Discussion > Fantasic photography in Zelig

Fantasic photography in Zelig

posted 17 years ago by CJ Laser
9 replies | jump to latest

Hi all,

I just watched the film yet again last night and something that I have always loved about this film was the photography, both the cinematic and the still photography.

The way they managed to recreate the old style footage was incredible and the photographs (particularly when Zelig was super-imposed with another image) were amazing.

The effect of zooming in on a grainy still while the listening to a crackerly old style recording on the audio was very eerie

I have seen other hollywood films try to blend footage and photographs together but never to this level of authenticity.

Anyone else find this?

[–] Xcalat3 17 years ago

I agree, both the cinematography and the Pictures are great

I Worship The Goddess Amber Tamblyn

[–] denbeez 17 years ago

I saw an interview with Woody Allen once in which he said that the technical challenges of this film were daunting, considering this was produced before CGI facilitated such effects, a la "Forrest Gump."

[–] pjyielder 17 years ago

Yes! The whole time I was watching this, I kept thinking to myself how painstakingly difficult it must have been for everyone involved, especially considering the time period. But it's so well done and visually believable. I would love to sit down and have a chat with Woody, particularly about this film because I found it absolutely stunning. Hilarious, but extremely rich and deep. And yes, the cinematography was excellent. The long shot from behind the porch near the end, when Zelig and Eudora have the extended kiss just after their wedding, is just plain touching because of how plainly it's shot. What a great film.

[–] denbeez 17 years ago

Gordon Willis is one of the finest cinematographers of his generation: He's responsible for all three "Godfather" films, "Pennies From Heaven," "All The President's Men" and "Klute," not to mention Woody Allen's "Manhattan," "The Purple Rose Of Cairo," "Stardust Memories" and "Broadway Danny Rose" among others. He is equally adept with color versus black and white photography, and period versus contemporary settings.

IMDb indicates that he's still alive, so does anyone know why he hasn't shot a film since 1997?

[–] 17 years ago

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[–] sr_wolfrider 17 years ago

His best looking film, perhaps only Love and Death comes close.

Last film seen: Robert Bresson's Pickpocket - Brilliant!

http://www.imdb.com/title/tt0053168/

[–] 17 years ago

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[–] sr_wolfrider 17 years ago

Yes, it's a dour and depressing film, but well worth watching once you're in the 'mood'. That said, I think Taxi Driver treads similar ground and is far more spellbinding.

Last film seen: Robert Bresson's Pickpocket - Brilliant!

http://www.imdb.com/title/tt0053168/

[–] karmitz 16 years ago

There's an issue of American Cinematographer from 1983/early 1984 that has a small article about shooting Zelig. Willis used period cameras, lenses and carbon-ribbon microphones to capture the "imperfect authenticity" of sound and footage from that era. All the footage combining Woody Allen with historical events or figures required painstaking optical printing, and to "age" their newly printed footage, Willis and his lab crew walked on the film, hung it up in showers to let steam and water act on it and then duplicate it many times over to degrade the image further.

Pretty cool stuff; I remember seeing it back in the day and it blew us all away with just how seamless the "new" footage blended with the old.