What’s going to happen to all the digital material that we create? How can it be stored? Because that question really hasn’t been answered. We talk about the democratization of film, the fact that these tools are becoming cheaper, faster and lighter. Anyone can do it now. And I think the filmmakers we talk to have mixed feelings about that: Who’s going to be the tastemaker? Does that mean there will be less good and more bad?
But, yeah, to answer your question — I mean, it’s not as groundbreaking as when film went from silents to talkies. Let’s say that. Or from black-and-white to color. This doesn’t have that feeling of sea change to it. But there are many implications that come out of it. Especially in the early days, there was the question of the quality of the product you’re looking at, the quality of the image. For certain artists whose vision is to make the best possible image, they felt digital wasn’t there.
The above quote is from an interview conducted by Andrew O’Hehir with Keanu Reeves, who has produced a new documentary that I’m quite pumped to see, called Side by Side. In it, Reeves chats with filmmakers about the practical, aesthetic, and philosophical considerations involved in the industry-wide transition from film to digital. The interview has only made me more excited to see the film, because rather than pontificate, Reeves poses question after question, even though the film has been finished. To me, that’s one of the strengths of documentary features: real life doesn’t necessarily conform to tidy narratives or clear answers to hypotheticals. It’s the one form of cinema in which you can get away with telling an ambiguous story with an ambiguous viewpoint, and not have the majority of the audience revolt. Even so, Reeves refers to the stories inherent in the films he likes to make, suggesting that if he does perceive a definite arc to this quest, it’s an arc whose trajectory he is still in the process of charting. Continue reading