I feel like Billy Lynn in that battlefield: it's me against everybody.' 'With a higher frame rate, I realized it was harder to make a movie,' he said. The high frame rate is produced by a shorter shutter speed, which, in turn, requires five times as much light as a shot in 24 fps. Of course, the technical obstacles of shooting at 120 fps became salient immediately. Digital cinema should be more inviting to audiences since it's easier to see.' 'It's comforting when you get enough information, like in 120 fps. (This perhaps echoes the 'jarring' sentiment early audiences described.) But, he found, once you adjust to the onslaught of information, you can fully experience its benefits. 'We scan and get information, but how we see is in our mind's eye, our head, our heart.'Īfter production began and Lee was able to review dailies, he realized that the increase in visual information at first appeared 'harsher' onscreen. 'The eyes are just our lenses,' Lee said. Though the higher frame rate would bring audiences closer to the human experience, cinema cannot ultimately divorce itself from subjectivity. 'I wanted to explore how people perceive soldiers what they're really going through,' he said. For Lee, Billy Lynn's action-packed and emotionally redolent story lent itself to the experience of hyperreality. I just have to believe in something and magic will happen.'Īnd believe in 120 fps he did. Sometimes, I feel I don't even have to be reasonable. I was always told that you don't have to be responsible, but you have to be reasonable. 'There's a lot of potential territory to explore. 'Each combination of frame rate and resolution has a different psychological mindset, a consciousness,' he said. 'Each combination of frame rate and resolution has a different psychological mindset.'Īfter testing multiple frame rate permutations, Lee landed on 120 fps. 'Between 60 and 120 fps, I was like, what do I want to do? Do I want to go into the unknown, or do I want to stay here and just try to improve on 60 fps? I decided I'd already become a grandfather and said, 'Oh fuck it.'' 'Here I am, at 60, coming of age into ,' he said.

Like the story of Billy Lynn's Long Halftime Walk, experimenting with the limits of technology was a coming-of-age experience for the director. 'It took me a year after that to understand that there's something beyond 60 fps,' Lee continued. I noticed the performances were different.' Your strategy has to become a lot smarter. You see the intention, the thoughts behind or the action. 'With a higher frame rate, you see everything. 'I realized in demo that the swords were just missing each other,' said Lee. 'I was in the process of understanding how we see things, how we experience a theatrical experience through a specific medium,' Lee said. James Cameron had recently demoed the first footage shot at 60 fps, which captured Lee's imagination-though he had an inkling he could do it better. I just look through the viewfinder.cinema is what I believe in.'Īfter Life of Pi, in 2011, Lee hoped to 'rise to the next level' of filmmaking, but he wasn't sure what that might entail. 'This is the quest in the next stage of my filmmaking,' Lee announced at a festival discussion. The day after the film's premiere-where the actors, including Kristen Stewart, Vin Diesel, and Steve Martin, saw the film for the first time-Lee was noticeably frazzled by its uneven critical response. 'The horrifying thing for filmmakers is that maybe you're not good enough for the medium. 'It was like watching super, duper HD television on steroids,' wrote Film School Rejects, 'or sitting so close to a live theatrical performance you can’t help but notice the actors’ exaggerated makeup and gestures.' Audiences found the first-ever film shot in 120 fps jarring and hyperreal the experience of unflinching reality pervaded its battle scenes, while the quieter scenes of home life were characterized by a profound mundanity. Now, Ang Lee has done something even more audacious: he shot his latest film, Billy Lynn's Halftime Walk, at 120 frames per second-not to mention in 3D and 4K resolution.īilly Lynn's Halftime Walk, about a young veteran returning from the Iraq War, recently premiered at NYFF 2016, where its advanced technology received a mixed reception. When Peter Jackson doubled the standard frame rate and released The Hobbit in 48 frames per second, he caught flak from the cinema community, which chided the film for having a 'soap opera' look.

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