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<keyword id="17467" type="General" weightage="50" keywordseo="vishal-bhardwaj" source="Orion">Vishal Bhardwaj</keyword> needs no introduction when it comes to modern filmmaking. For him, technology will always assist in good story-telling but what he has achieved with <keyword id="6354606" type="General" weightage="100" keywordseo="iphone" source="Orion">iPhone</keyword> 14 Pro in creating a 30-minute magic on screen is something that gives him goosebumps.<br /><br />Shot entirely on an iPhone 14 Pro, 'Fursat' with Ishaan Khattar and Wamiqa Gabbi in lead roles, the movie, according to <keyword id="3039" type="General" weightage="80" keywordseo="bhardwaj" source="Orion">Bhardwaj</keyword>, has proved that making a full-blown, two-hour feature film is now possible with the device. And he is willing to take a shot at it.<br /><br />"Not just short films, I feel that the iPhone is now ready to help us create a full feature film. It is kind of unbelievable that we can have such a kind of stabilisation in scenes with Action Mode in iPhone 14 Pro. <keyword id="3506871" type="General" weightage="80" keywordseo="cinematic-mode" source="Orion">Cinematic Mode</keyword>, or shift focus in our language, is another intelligent feature. The amazing part is that we could use this Cinematic Mode tool even after the shot was taken," Bhardwaj told IANS.<br /><br />The device, he said, gives freedom to filmmakers who cannot afford to hire the entire fleet of tech equipment.<br /><br />"It liberates you. You have a great device and now you only need content," he said, adding that several years down the line, people will actually realise the transformation the iPhone has brought to the world of filmmaking.<br /><br />The film has all the ingredients of popular cinema, including songs and choreographed dances, which are integral to Bollywood, packaged together on a scale never seen before for a non-commercial film.<br /><br />"A traditional film camera comes with 10 people, 3 attendants and 10 boxes of lenses. You can't move around. You can't be quick. The iPhone liberated me in that sense," said Bhardwaj.<br /><br />"I've never had this kind of scale in my films ever before. And this can tell you about the scale the iPhone can achieve. As a device, it's taking you out of the limitations which we had when we were growing up," he added.<br /><br />According to <keyword id="3504868" type="General" weightage="50" keywordseo="swapnil-sonawane" source="Orion">Swapnil Sonawane</keyword>, Director Of Photography, Action Mode is the most amazing update.<br /><br />"For it to be held in your hand and run with all your might looking at the actor, one can get extremely steady shots, without external gimbal.AThe way Cinematic mode shifts focus is the way the focus puller would, it's an emotional shift focus, which is what was absolutely beautiful about it," <keyword id="213779" type="General" weightage="50" keywordseo="sonawane" source="Orion">Sonawane</keyword> elaborated.<br /><br />Bhardwaj, who has directed 10 feature films, produced five and composed music for more than 40, including the internationally acclaimed <keyword id="2476824" type="General" weightage="50" keywordseo="shakespearean-trilogy" source="Orion">Shakespearean Trilogy</keyword> adaptations -- 'Maqbool' (Macbeth), 'Omkara' (Othello) and 'Haider' (Hamlet) -- said he will be making more movies on an iPhones.<br /><br />"There are many subjects for which we won't find producers to put their money on. I am going to shoot many films on iPhones going forward," he said.<br /><br />Action Mode supports up to 2.8K resolution and 60 fps and is a powerful creative tool when combined with Dolby Vision or ProRes recording.<br /><br />Cinematic Mode now supports 4K resolution up to 30 fps, including 24 fps -- a go-to for shots just like the movies. Cinematic Mode also records in Dolby Vision HDR.<br /><br />Also, Apple Music is the home to all the music associated with 'Fursat', as well as editorially curated Bollywood playlists.<br /><br />The platform offers a bespoke super room for the film, which houses the album 'Fursat' in Spatial Audio for an immersive experience.<br /><br />"We never had enough time for ourselves. We should focus on what we have -- the time right now, in this very moment. 'Fursat' is all about finding that waqt," said Bhardwaj, who is ready with 'Khufiya,' his next spy thriller on Netflix that is based on Amar Bhushan's espionage novel 'Escape to Nowhere'.<br /><br />SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/tech/news/elon-musk-cleared-of-fraud-charges-in-tesla-funding-secured-case/articleshow/97597419.cms">Elon Musk cleared of fraud charges in 'Tesla funding secured' case</a><br /><a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/news/paytm-founder-announces-operating-profitability-says-free-cash-flow-generation-is-next/articleshow/97596818.cms">Paytm founder announces operating profitability, says free cash flow generation is next</a>

Vishal Bhardwaj: A 2-hour movie made on an iPhone will be a reality soon

<p>For nine years I've worked at the <keyword id="6359288" type="PERSON" weightage="60" keywordseo="shakespeare">Shakespeare</keyword> Theatre Company in Washington, DC, but like most "theater people" I've been reading and performing Shakespeare's plays and poems for most of my life.</p><p>So far, 2020 has shown me that I've underrated maybe the defining fact of Shakesepare's life: he lived during a time of pandemic.</p><p>There were periodic closures of theatres throughout Shakespeare's career due to the bubonic plague, and it's now become clear to me that living through a pandemic had a major impact on the plays by the <a href="https://www.bbc.com/culture/article/20140422-shakespeare-the-worlds-writer">recognized GOAT</a> of English-language drama.</p><p>Here's how. </p><h2>1. The need for patronage from new sources — and the emergence of a recognizably 'Shakespearean' style</h2><p>In the years before 1592, Shakespeare was highly successful but somewhat derivative, kind of like an action-movie director pumping out superhero blockbusters. His most popular plays were the bloody trilogy of "Henry VI" plays, written with a series of co-authors. </p><p>When an outbreak closed the theaters between 1592 and 1594, a number of theatre companies were wiped out. Shakespeare likely sought out aristocratic patrons and began a different kind of writing — Sonnets and epic poetry. </p><p>When the theaters reopened, Shakespeare was a shareholder in a newly formed company, the Lord Chamberlain's Men, and his plays were suddenly more sonnet-like. The lyrically virtuosic works he began writing include "Romeo and Juliet," "A Midsummer Night's Dream," "Richard II," and "The Merchant of Venice"<em> — </em>essentially what we start to recognize as a classically Shakespearean style. </p><div type="image" title="Drew Lichtenberg" height="1098" width="1464" msid="77693699" hostid="261"></div><h2>2. Shakespeare's likely quarantine in the country contributed to the trademark length of his plays</h2><p>Shakespeare was also personally affected by pandemic while quarantining in the country.</p><p>His son, Hamnet, died at the age of 11 in 1596, probably from the plague. "Hamlet" was Shakespeare's resulting exploration of fathers and sons, death and grief. </p><p>There are multiple versions of the play, and all of them are long. It's almost as if Shakespeare was working through something so traumatic that he couldn't leave well enough alone. </p><p>The so-called "good Quarto" of "Hamlet," which most of us are taught in high school, first appeared in 1604, another year of plague closures that marked a major leap forward in Shakespeare's style. </p><h2>3. The pandemic led to theatre privatization, directly leading to modern-day enclosed performance</h2><p>There was a third outbreak late in Shakespeare's career, and when the theaters reopened in 1609, his company started performing in the Blackfriars Theatre, purchased the year before. </p><p>Unlike the Globe, a large, open-air theatre on the South Bank of the Thames, the Blackfriars was a smaller and indoor venue with artificial lighting. It had higher ticket prices, essentially assuring a more upper class and aristocratic audience than the Globe's "groundlings." In short, the Blackfriars was the beginning of the transformation of the theatre into the boutique art form it is today, one pitched toward a cosmopolitan elite rather than the masses. </p><h2>4. Shakespeare took advantage of a marketplace that pandemic created</h2><p>The biggest effect of the plague on Shakespeare's career, however, was the fact that he had a career in the first place.</p><p>By some estimates, London lost more than 50% of its population during the 16th century, depriving thousands in the countryside, including Shakespeare, from making a living in their parent's trade (Shakespeare's father was a glovemaker). Many of these moved to London to make their own way. It was the creation of the secular theatrical marketplace. </p><p>One generation prior, when most people remained tied to the land of their parents' birthplace, theater was confined to small groups of traveling players, revelry on feast days, and private celebrations sponsored by aristocrats in the great manor homes.</p><p>It was a pandemic, yes, but it was also, to quote Shakespeare, a "brave new world." Or to quote another famous English writer, "it was the best of times, it was the worst of times."</p><p><em>Drew Lichtenberg is the Resident Dramaturg and Literary Manager at the Shakespeare Theatre Company. He holds a Doctorate in Fine Arts from Yale School of Drama.</em></p>

The greatest plays in the English language were written during a pandemic — and wouldn't have been possible without it

<p><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Franc¸ois Duhamel/Universal</span></p><p class="caption">(L-R) Danny Boyle and Aaron Sorkin.</p></div><p></p></div></div>Aaron Sorkin, the famed screenwriter behind "The Social Network" and "Moneyball," is known best recently for bringing stories about the technology we're immersed in to the big screen.</p><p>His latest screenplay, "Steve Jobs," which is directed by Danny Boyle ("Slumdog Millionaire," "127 Hours") is based loosely on Walter Isaacson's <a href="http://www.amazon.com/Steve-Jobs-Walter-Isaacson/dp/1501127624/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1444079621&amp;sr=1-1&amp;keywords=steve+jobs">authorized biography</a> of Apple's co-founder. In it, Sorkin uses the iconic machines that Apple created as a backdrop for the real drama: Jobs' personal life.</p><p><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Universal</span></p><p class="caption">Michael Fassbender as Steve Jobs.</p></div><p></p></div></div>The movie is split into three acts based on key product launches for Jobs - the first Macintosh, "<a href="https://en.wikipedia.org/wiki/Apple_Lisa">Lisa,</a>" in 1984, <a href="https://en.wikipedia.org/wiki/NeXT">NeXT</a> in 1988, and the <a href="https://en.wikipedia.org/wiki/IMac">iMac </a>in 1998. What evolves is a dialogue-heavy exploration into the relationships Jobs (Michael Fassbender) had with his inner-circle: marketing chief <a href="https://en.wikipedia.org/wiki/Joanna_Hoffman">Joanna Hoffman</a> (Kate Winslet), Apple co-founder <a href="https://en.wikipedia.org/wiki/Steve_Wozniak">Steve Wozniak</a> (Seth Rogen), Apple CEO <a href="https://en.wikipedia.org/wiki/John_Sculley">John Sculley</a> (Jeff Daniels), original Mac designer <a href="https://en.wikipedia.org/wiki/Andy_Hertzfeld">Andy Hertzfeld</a> (Michael Stuhlbarg), and Jobs' daughter <a href="https://en.wikipedia.org/wiki/Lisa_Brennan-Jobs">Lisa Brennan-Jobs</a> (played by three different actors).</p><p>Business Insider sat down with Sorkin and Boyle before the film's premiere at the New York Film Festival to discuss why they cast an actor that looks nothing like Jobs, Boyle's reason for studying "The Social Network" before making the film, and the one question Sorkin would ask Jobs if he were still alive. Here's the lightly edited transcript.</p><p><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Sony Pictures/</span></p><p class="caption">"The Social Network."</p></div><p></p></div></div><strong>BI: Danny, you weren't the first director on this project, at one time <a href="http://variety.com/2014/film/news/david-fincher-steve-jobs-sony-1201118721/">David Fincher was attached</a>. You've said that you went back and watched his film, "The Social Network," which Aaron also wrote. What were you searching for in watching that film?</strong><br /><strong><br />Boyle:</strong> Just the lineage. Because I believed instinctively when I read the script that it comes straight after "The Social Network." It's before in terms of a timeline, but it felt like it was part of a trilogy. Specifically, I was looking for individuality. Because you don't want to make a copy. I didn't want to copy Fincher's techniques, so I learned a lot from what he did.<strong> <br /></strong></p><p><strong>BI:</strong> <strong>Aaron, Mark Zuckerberg and Steve Jobs are both famous tech founders. Was it hard to not think about "The Social Network" when you were writing this?</strong><br /><br /><strong>Sorkin:</strong> You know, no, it wasn't hard. I felt it was a different animal. As complex a person as Mark Zuckerberg was, there was no lawsuit to write about, I was doing something else with Steve. So I don't remember it that way. Now after spending all this time with Danny, he has convinced me that the two are related and that there needs to be a third. So Elon Musk here I come. [<em>Sorkin leans towards recorder</em>] That's a joke, I'm not coming for him.<br /><br /><strong>BI:</strong> <strong>Why did you focus on three key product launches in the film, Aaron?</strong><br /><br /><strong><div class="KonaFilter image-container display-table float_right"><div><div class="image on-image"><p class="source"><span>AP Photo/Paul Sakuma</span></p><p class="caption">Steve Jobs with the "Lisa" Macintosh.</p></div><p></p></div></div>Sorkin:</strong> I picked 1984, that launch, because that Mac was the first one that Steve really felt was his. It wasn't Woz's or anyone else's. And he really thought this was going to be his hit song. And it didn't work out that way. There were other things around that time I liked. Steve was still denying paternity of Lisa, and I wanted to show that. Then in 1988, that's the king in exile, and the third act as was the king's return.  <br /><br /><strong>BI:</strong> <strong>You've become the go-to guy when it comes to creating landmarks films that showcase how technology changes everything. Is it because you love technology, or is someone really good at talking you into writing these?</strong><br /><br /><strong>Sorkin:</strong> There's a bit of the second, because I am not a technophile by any means. I have and use the devices, but I generally have to ask for help with something. I'm not somebody who sleeps on the street for five nights when the iPhone 6 comes out.<br /><br /><strong>BI: Do you think these stories grab people because you aren't coming at them with a real geek knowledge?</strong><br /><br /><strong>Sorkin:</strong> I think so. But if you line up ten writers and asked them to each write a movie about Steve Jobs, you'll get ten different and good movies. We're well on our way to proving that, by the way. And I think some of those movies, if they were written by people who were really are passionate about technology, would have perhaps focused more on the genius that went into, say, developing the iPod, for example. <br /><br /><strong>BI:</strong> <strong>A popular comment that comes up about this movie is that Michael Fassbender looks nothing like Steve Jobs. Danny, was that ever a concern?</strong><br /><br /><strong>Boyle:</strong> No, we were very clear right from the get-go that this wasn't about a physical impersonation at all. It was about inhabiting, it's almost Shakespearean. He's historically accurate to a degree, but then he is our version of him and there will be other versions. It was kind of taking some facts, dispensing with many others - which would have blurred the path to investigating the man, really - and letting him move to a self-knowledge which he does gain by the end.  </p><p><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>David Paul Morris/Getty Images</span></p><p class="caption">Steve Jobs.</p></div><p></p></div></div><strong>Sorkin:</strong> I think in the first 15 minutes of my first meeting with Danny we both talked about this, and I was delighted that Danny felt as I did, that there should be no attempt to make him look like Jobs. But in this movie it just isn't important. The fact that he doesn't, I think, is one of the things that signals to the audience that this is a painting and not a photograph. This isn't probably what you expected to see when you came into the theater.</p><p><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Franc¸ois Duhamel/Universal</span></p><p class="caption">Michael Fassbender.</p></div><p></p></div></div><strong>BI:</strong> <strong>Because this is not a true biopic, Aaron, what was gained by meeting with people like Steve Wozniak, Lisa Nicole Brennan-Jobs, and John Sculley?</strong><br /><br /><strong>Sorkin:</strong> At first I didn't know what I was looking for. I would ask them questions that I hoped would get them to tell stories. And if there was something in that story that I wanted to chase after I would. <br /><br />Lisa was by far the most important person I spoke to. Lisa didn't speak to Walter Isaacson when Walter was writing the book because her father was alive at the time. But she was willing to speak to me and I was really grateful for that. And she was able to tell stories about her father that weren't necessarily flattering stories, but she would tell the story and then show me how you could see he really did love her. Hearing her talk like that really made me want to write about this father-daughter relationship. </p><p><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Franc¸ois Duhamel/Universal</span></p><p class="caption">Michael Fassbender and Makenzie Moss (as Lisa at 5-years-old) in "Steve Jobs."</p></div><p></p></div></div>Sitting with Woz, he presents himself as a very happy guy. Not a care in the world. He's fine not having had Steve's ambition, he's fine not having had Steve's rockstar persona, he likes a work bench, that's where he wanted to be. That's the way Woz is for about 10 minutes. Then without much prodding at all you begin to feel like you're talking to Garfunkel who is talking about Paul Simon. And that's when I knew there was a point of friction that I absolutely wanted to write about.</p><p><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Franc¸ois Duhamel/Universal</span></p><p class="caption">Michael Fassbender and Seth Rogen (as Steve Wozniak) in "Steve Jobs."</p></div><p></p></div></div>Meeting with John Scully, he hadn't talked to anyone really since leaving Apple in '86. But he got remarried a few years ago, to a woman named Diane, who has sort of made it her job to get John back out there in the world and set the record straight about what really happened on that rainy night [when Jobs was, as he tells it, <a href="http://www.businessinsider.com/john-sculley-steve-jobs-was-never-fired-from-apple-2015-5">fired from Apple</a>]. So in John there was a man who suddenly had a story to tell. I thought it was a fantastic point of friction that would certainly be dramatized.</p><p><div class="KonaFilter image-container display-table"><div><div class="image on-image"><p class="source"><span>Franc¸ois Duhamel/Universal</span></p><p class="caption">Jeff Daniels (as John Sculley) in "Steve Jobs."</p></div><p></p></div></div>So looking at all of these things I thought, "Gee, if I can collect enough of them and if they all go together the right way, this three-act format that I want is so crazy it might just work."<br /><br /><strong>BI:</strong> <strong>After making this movie, how do you two see Steve Jobs the man?</strong> <br /><br /><strong>Boyle:</strong> My heroes are slightly different, I have to say. I mean he's an extraordinary character to work on, but my heroes are other people - the Wikipedia guys, <a href="https://en.wikipedia.org/wiki/Tim_Berners-Lee">Tim Berners-Lee</a>, who partly invented the World Wide Web and then put it in a trust so no other corporation could ever own it. <br /><br />Because there are questions about knowledge and power that obviously Jobs would argue. This was his argument with Woz, to develop it you have to monetize it, you have to make it part of the business world. And then there are others who say it's too powerful, it's too important for everyone. In one of Jobs' past speeches he said, "Imagine if this power was in everyone's hands." It's how you get it in everyone's hands that we all ague about. He's still a mystery to me. And he should stay one, you don't solve it.<br /><br /><strong>Sorkin:</strong> I agree with everything Danny said, but you ask that question and I think about what I would ask Steve if he were still alive. If he would give me an honest answer I would ask, "Why did you pretend you didn't name the computer after Lisa?" I can't fathom. Any other father, if they hadn't named it after their daughter would lie and say they did. I just can't fathom it. <br /><br /><em>"Steve Jobs" opens in theaters on Friday.</em></p>    <div class="margin-top">        <h3>NOW WATCH: <a href="http://www.businessinsider.com/the-steve-jobs-cast-discusses-jobs-legacy-2015-10">Someone asked the 'Steve Jobs' cast the one question that cuts to the heart of Jobs' legacy</a></h3>        <div>            <div>        <div class="ooyala-video-player" data-video-autoplay="false" data-video-id="o2OWExeDq0DX1WCg5GHaoFeFcyvpVCOF" data-player-variable="ooyalapopvideo" id="ooyalaplayer_popvideo" style="width:1280px;height:720px"></div>        </div>        </div>            </div>

Aaron Sorkin and Danny Boyle reveal how they made 'Steve Jobs,' and the one question they'd ask Apple's founder if he were still alive

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Vishal Bhardwaj: A 2-hour movie made on an iPhone will be a reality soon

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The greatest plays in the English language were written during a pandemic — and wouldn't have been possible without it

Drew Lichtenberg

Aaron Sorkin and Danny Boyle reveal how they made 'Steve Jobs,' and the one question they'd ask Apple's founder if he were still alive

Jason Guerrasio

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