Yes, Bad Times at the El Royale was shot entirely on film, primarily utilizing the 35mm format. Director Drew Goddard and cinematographer Seamus McGarvey made a conscious decision to embrace the organic texture and nuanced color palette that only film can provide, aiming to evoke the atmosphere and aesthetic sensibilities of classic 1960s and 1970s cinema. This choice played a significant role in crafting the film’s distinctive visual style and adding to its sense of timelessness and mystery.
The Allure of Analog: Why Film?
The debate between shooting digitally and on film continues to rage in the film industry, with each format offering distinct advantages. However, for Bad Times at the El Royale, the decision to use film was deeply rooted in the director’s artistic vision. Drew Goddard explicitly wanted to capture a specific aesthetic, one that he felt was only achievable through the use of celluloid.
Emulating the Golden Age
One of the key reasons for choosing film was to emulate the look and feel of the classic films that inspired Bad Times at the El Royale. Movies like The French Connection and The Long Goodbye possessed a certain visual grit and richness that Goddard sought to replicate. Film inherently possesses a texture and grain that digital cameras often struggle to emulate convincingly, especially in lower light conditions.
The Color Palette
Film renders colors in a unique way. The subtle variations and nuances of color film, especially in how it handles skin tones and highlights, were crucial for creating the film’s atmospheric and immersive visual experience. The team meticulously worked with film stocks and processing techniques to achieve the specific color palette they envisioned.
The Imperfection Factor
Film is inherently imperfect. Scratches, dust, and subtle variations in density are all part of the filmic experience. These imperfections, however, contribute to the authenticity and organic feel of the image. This imperfection aligns perfectly with the film’s gritty narrative and morally ambiguous characters.
Seamus McGarvey: A Master Craftsman
The task of bringing Goddard’s vision to life fell to cinematographer Seamus McGarvey, a renowned figure in the industry known for his masterful use of film in projects like Atonement and Anna Karenina. McGarvey’s experience and technical expertise were invaluable in navigating the challenges of shooting on film.
The Challenge of 35mm
Shooting on 35mm film presents a different set of challenges compared to digital. It requires careful planning, precise execution, and a deep understanding of the medium. Film stock is finite, and each take costs money, forcing the director and crew to be more deliberate and efficient. This discipline often translates into a more focused and intentional approach to filmmaking.
Lighting and Exposure
McGarvey’s skill in lighting and exposure was crucial in maximizing the potential of the film stock. He meticulously crafted the lighting to create the desired mood and atmosphere, taking full advantage of film’s ability to capture subtle gradations of light and shadow.
The Result: A Visual Feast
The collaboration between Goddard and McGarvey resulted in a visually stunning film that perfectly captures the atmosphere of the era. The use of film adds a layer of richness and depth to the image, drawing the viewer into the world of the El Royale.
FAQs: Decoding the Filmic Choices
Here are some frequently asked questions to further illuminate the choices made in shooting Bad Times at the El Royale on film:
FAQ 1: What film stocks were used in Bad Times at the El Royale?
The primary film stock used was Kodak Vision3 500T 5219 for most of the interior and nighttime scenes, due to its excellent performance in low light. Kodak Vision3 250D 5207 was likely used for some of the daytime exterior scenes where a finer grain structure and increased latitude were beneficial. However, details on the specific film stock usage for each scene remain limited and are usually closely guarded details for the benefit of the specific production.
FAQ 2: How does shooting on film affect the budget of a film?
Shooting on film generally increases the budget due to the cost of the film stock itself, processing, and scanning. It also requires more careful planning and a more experienced crew, which can further add to the expense. While digital cameras have significantly reduced shooting ratios, film mandates a more economical and efficient approach, potentially mitigating some of the financial impact through reduced reshoots.
FAQ 3: What are the advantages of shooting on film over digital?
Key advantages include a more organic look, superior color rendition, a unique texture and grain, and a certain “feel” that many filmmakers find difficult to replicate digitally. Film also encourages a more disciplined and deliberate approach to filmmaking.
FAQ 4: What are the disadvantages of shooting on film?
Disadvantages include the higher cost, limited shooting time per roll, the need for processing and scanning, and the relative lack of immediacy compared to digital, where you can instantly review footage.
FAQ 5: How does film impact the post-production process?
Shooting on film requires a more involved post-production process. The film needs to be developed, scanned into a digital format, and then graded. This adds steps and potentially time to the overall post-production workflow, but skilled colorists can further enhance the film’s aesthetic during the grading process.
FAQ 6: Did the use of film affect the actors’ performances?
While the impact is subjective, some actors find that shooting on film encourages a greater sense of focus and commitment because each take is more valuable. Knowing that every take counts can enhance the intensity of the performance.
FAQ 7: How does film contribute to the film’s overall aesthetic and atmosphere?
The film’s texture, color palette, and subtle imperfections contribute significantly to its overall aesthetic and atmosphere. In the case of Bad Times at the El Royale, it helped create a sense of authenticity and timelessness, immersing the viewer in the world of the film.
FAQ 8: Did Drew Goddard consider shooting digitally before deciding on film?
While it’s possible the option was discussed, all indications suggest that Drew Goddard was firmly committed to shooting on film from the outset. His vision for the film’s aesthetic was intrinsically linked to the qualities that film provides.
FAQ 9: What cameras and lenses were used for Bad Times at the El Royale?
The production primarily used Panavision cameras with Panavision lenses. Specific camera models aren’t widely publicized, but they would have likely been top-of-the-line 35mm cameras, such as the Panavision Millennium XL2. The lenses would have been chosen carefully to complement the film stock and achieve the desired look.
FAQ 10: How does the film’s aspect ratio relate to the choice of shooting on film?
Bad Times at the El Royale utilizes a widescreen aspect ratio, which is well-suited to the cinematic qualities of film. The wider frame allows for more expansive compositions and enhances the immersive experience, complementing the film’s visual storytelling.
FAQ 11: Are there any scenes in Bad Times at the El Royale that could not have been achieved as effectively with digital cameras?
The low-light scenes, particularly those within the dimly lit rooms of the El Royale, are a prime example. Film’s ability to capture subtle gradations of light and shadow, and its unique handling of noise in low-light conditions, were crucial in creating the desired atmosphere and visual depth. Replicating this look authentically with digital cameras would have presented a significant challenge.
FAQ 12: Has the success of Bad Times at the El Royale influenced other filmmakers to shoot on film?
While it’s difficult to quantify the direct impact, the film’s visual success undoubtedly reinforces the argument for shooting on film when the artistic vision demands it. It serves as a powerful example of how film can enhance a film’s aesthetic and contribute to its overall impact, potentially influencing other filmmakers to consider this option. Ultimately, the choice depends on the specific needs and artistic goals of each project.