And what about from your perspective, as producer?
From a production perspective, when it was first mentioned in the conversation I was like, “Hang on guys, we’ve not talked about that.” To start with I was just pleased to not be shooting film, because I couldn’t afford that, but as I learned more about 65 mm I realized there was a lot of data to deal with. My production manager went and found out about all the transcoding and wrangling, and together we built an understanding of the format and its ramifications. Part of that was having a director who wanted to shoot as much footage as he possibly could, so it was working out what impact that would have on a DIT, and what hard drives we would need.
In the beginning I felt this might be the wrong tool for a documentary sensibility. I questioned why anyone would use such a filmic format when you’re dealing with real people, and will probably have very long takes. But, cut to a few tests later and a few more conversations, and I realized that’s the whole point. There was no better way to celebrate these real people and do something different. The more we got into the 65 mm format, the more excited we were to be using it.