Maddin

[twotoneska]

A lot of Guy Maddin's stuff is shot on Super8 or Super16, or a combination of the two. Was "Dracula..." shot on one of those, though, or was it shot on 35?

[P.w.Shelton]

Here's some info on the film from a website called offscreen

Maddin's inimitable style, alienating to some, surreally engaging to others, is marked most strongly by a self-conscious form of historical anachronism. Maddin prefers to employ low-tech, in-camera effects (lenses that are greased or silk scrimmed, soft focus, iris effects, and superimpositions), high contrast lighting (usually black & white) and manipulated soundtracks to recreate the look and sound of silent and early sound film history. Even when Maddin goes ‘high-tech,’ it is with one step firmly planted in the past. For example, although Dracula: Pages From a Virgin’s Diary (2002) is highly dependent on digital technology for its editing and colorization, the film was shot on 16mm and (primarily) Super 8mm. As Maddin sheepishly notes, “It [Dracula] might be the most digitally driven movie ever made in Canada…and the most expensive Super 8 movie ever! A 1.6 million dollar Super 8 movie.”

[drsanchez]

Guy Maddin's my hero, even though I find some of his films unwatchable. He's got a real do-it-yourself attitude, and Dracula (a b/w silent vampire ballet movie) was an extremely sexy movie.

[Rick Palidwor]

Maddin also shoots a lot of Regular 8 as far as I know. I also find some of his movies unwatchable and I haven't seen Dracula but The Saddest Music in the World is well worth seeing.

Rick

[twotoneska]

"Dracula" is my favorite, though "Saddest..." and "Cowards Bend the Knee" are both very good. I have yet to see any of his early features, but have seen various shorts, some of which I liiked, some not so much. He's just a huge inspiration for me, in that he can make features on S8 and S16, but primarily on S8, and still find a pretty wide audience.