1:22:02
. . .which is two stops faster than
lenses that are available even today.
1:22:07
Of course, Stanley's intention
for these lenses was to shoot. . .
1:22:11
. . .the famous candlelit scenes
in Barry Lyndon.
1:22:14
That being the case, he shot
with the lenses wide open, f0.7.
1:22:20
The consequence of that, he had
practically no depth of field at all.
1:22:25
It was quite a chore
to do it, but of course. . .
1:22:28
. . .the images were
absolutely gorgeous.
1:22:48
I think Stanley would have a concept
of wanting to do something. . .
1:22:53
. . .in a way that it had never
been achieved before.
1:22:56
He wanted to put himself into that
century and with these characters. . .
1:23:01
. . .and these settings and give you
a way of seeing them. . .
1:23:05
. . .as they would've been seen
at the time the book was written.
1:23:08
Yet he used the most extraordinarily
modern and daring instruments.
1:23:13
The fact that he used these candles.
That's part of it. . .
1:23:17
. . .but also the interiors, the
way sunlight came into rooms.
1:23:21
It was to achieve
the presence in a period. . .
1:23:25
. . .in a way that I don't think anybody
had ever done it before.
1:23:28
I knew it was a costume piece, but I
hoped he'd take it somewhere else.
1:23:33
He took it back in time. The use
of the zoom lens is interesting. . .
1:23:37
. . .because you'd never think
to use a zoom lens in the past.
1:23:40
No, the zoom lens flattens it
out like the 1 8th-century painting.
1:23:45
The movement, body language. . .
1:23:47
. . .and the use of music and editing. . .
1:23:50
. . .how transporting that moment is
when Ryan O'Neal, who's wonderful. . .
1:23:54
. . .and Marisa Berenson as he meets her,
kissing her on the balcony. . .
1:23:59
. . .with the music and movement.