It makes his story all the more powerful, with its moving glimpses of individuals we would only know from black-and-white photographs.
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Spielberg has stated in interviews that the black-and-white footage echoed the images from the documentaries made about the genocide.
#URC REMOTE MOVIE#
Steven Spielberg won his first Best Director Oscar for his only black-and-white film and the movie he is proudest of, an unflinching three-hour epic about the German businessman Oskar Schindler (Liam Neeson) who helped save hundreds of Jewish lives during the Holocaust. The directors below made the choice to recall the way movies used to look with an emotional immediacy that forces contemporary viewers to see all the shades of gray. Though expressed with wildly different voices, black and white creates a new, unified statement. And to emphasize how this specific artistic choice has recurred throughout modern filmmaking, we’re limiting this list to movies that go back to the ’90s consider Martin Scorsese’s 1980 black-and-white boxing classic, Raging Bull, which embraced monochrome in part to get the boxing gloves right, an excellent forebear of this newer wave. Instead, we’re exploring the reasons why an already established filmmaker who regularly uses color read a script and thought, I must shoot this in black and white. There’s a whole other list to be made of directors who made the bold move of embracing black and white in their debuts, including Spike Lee, Christopher Nolan, Ana Lily Amirpour, and Marjane Satrapi. But even if a project might later earn some prestige (Oscar voters tend to love modern black-and-white movies), it usually takes an established talent, a David Fincher type with contacts at Netflix, to have a shot at making it to the awards circuit. It’s fascinating when directors like Fincher eschew color in the middle of their acclaimed careers and go for something a little classic, a little daring, and possibly a little anti-commercial.
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These movies often come from a personal place (Fincher chose the format working from a script by his late father, Jack), but they also require a director to fight for their vision, as black-and-white films are famously hard to raise money for - even Mank couldn’t get made for decades. David Fincher’s Mank, a story about how studios would rather repeat themselves than risk bold ideas, is also a testament to the dedication required to bring a modern black-and-white film to the screen.