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David Simon The Wire in HD (updated with video clips)December 3, 2. This tale begins and ends with a fellow named Bob Colesberry, who taught me as much as he could about filmmaking in the three or four years I was privileged to work with him. To those who knew Bob, it will provoke warm memories to say that he was not a language guy; he understood image, and story, and the delicate way in which those elements should meet. Bob spent a too- short lifetime on film sets, working beside real filmmakers – Scorsese, Bertolucci, Pakula, Levinson, Ang Lee – helping to shepherd the ideas of many great directors and eschewing the limelight altogether for the chance. But, hey, if you don’t believe me about how substantial his resume was, go to imdb right now and trace the arc of his career.

That he ended up tethered to some ex- police reporter in Baltimore was pure forbearance on his part; for my part, I can just say I got very lucky. It is no exaggeration that Bob had to explain “crossing the line” to me a dozen times, often twice in the same day, before my brain could grasp a concept that first- year film students everywhere take for granted. If you go to the fourth episode of the first season of The Wire, and watch the camerawork on that long scene with Freamon and Mc. Nulty in the bar, you’ll be a bystander to the moment when the linear word- brain that I drag to set every day was finally allowed a few rays of cinematic light, courtesy of a patient mentor.“See what happens when we cross over and everything flips?” he explained for the thirteenth time. If you see the move happen, you aren’t disoriented, but if we were to cut that moment and then suddenly be on the other side…”He paused, looked at me. Nothing. Dead crickets.“So…the dialogue that they’re saying when we cross the line and reverse on them – those words –we can’t cut those. You good with that?”“Yeah, I get it now.”“Right.

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Then we’re good.”Huh. The next day, I sauntered up to Bob at the video monitors and, in my best deadpan, asked him yet again to explain crossing the line. He looked on me sadly as a terminal case, until I started laughing. No, I had finally learned something about the camera and the credit was his. I just couldn’t resist pulling the man’s coat one more time.

In telling that story on myself, I’m trying to make clear that while I might have learned to put film in the can in a basic way before the marriage to Mr. Colesberry, I had no claim to anything remotely resembling a film auteur. Watch The Art Of War Online (2017). It was Bob who created the visual template for The Corner and The Wire both, and having died suddenly after the latter drama’s second season, it is Bob who is remembered wistfully every time we begin to construct the visuals for some fresh narrative world.

He would have reveled in Generation Kill, and knowing what I do about the visual palate that New Orleans offers the world, I am unsure that Bob Colesberry could have ever been pried from that city had he gone down there for Treme. As devoted as he was to imagery and story, language was always a lesser currency in Bob’s life; he often made his arguments elliptically, curling in sentence- fragment circles until he got to where he needed to go. You had to lean in and listen a little harder, but it was always worthwhile and he was usually correct when he got to his point. Once, at a TCA panel on The Wire, Bob answered a reporter’s question in vague terms and at length. To lighten the moment, I tossed off a joke: “Now you can see why Bob’s in command of the visuals.” It was teasing and steeped in affection, but I regretted the remark as soon as I uttered it. Bob’s contributions to the storytelling were profound, and though he laughed it off, I had been heedless.

His claim on The Wire and what it was trying to do was genuine and elemental; for years, before and after his death, I wanted that moment back to exalt my friend and colleague. So when HBO sent out some promo ads about a conversion of The Wire to HD and a 1. I reacted not merely as David Simon, showrunner and ink- stained scribbler, but as David Simon, the medium for Robert Colesberry, professional filmmaker. WWBD. What would Bob do?*          *          *Well, for one thing, he would make sure to be included in the process. Nina Noble and I were told a year ago that HBO wanted to experiment with taking The Wire, filmed in standard definition and a 4: 3 ratio, to the new industry standards. We endorsed the effort, but after we last spoke to folks on the production side, we had expected to be shown some work recast in high definition and wider screen and to begin discussions at that point. Instead, we heard nothing until on- air promos for The Wire in HD began to be broadcast and packaging material for a fresh release of the drama was forwarded to us in Yonkers, where we are shooting our current HBO project.

No offense was taken, particularly when the production people explained that the transfer to HD had been laborious and ornate, and it was simply assumed that we were too busy with current production to dive into the process in detail. And, too, there was a further assumption at HBO that as a transfer to HD could provide a fresh audience for the drama, there was no real disincentive to an HD transfer of The Wire on any terms; if it could be done, they reasoned, it should be done. And yet, I still had Bob Colesberry in my ear. Moreover, Bob’s history with HD and a 1.

The Wire was a tortured one. His intentions, the limitations imposed on our production, and his resulting template for the drama were known to me, if not to the folks presently struggling with a retroactive transfer to HD and widescreen. In fact, Bob had asked before filming The Wire pilot in late 2. He correctly saw television screens growing wider and 1. But, to be honest, The Wire was at its inception a bit of shoestring affair and expectations for the drama at HBO were certainly modest. Filming in letter- box was more expensive at the time, and we were told, despite Bob’s earnest appeals, that we should shoot the pilot and the ensuing season in 4: 3. At which point, Bob set about to work with 4: 3 as the given.

And while we were filming in 3. HBO, the problem with doing so is obvious: If you compose a shot for a wider 1. Watch Chatroom Online Fandango. Choose to serve one construct and at times you must impair the other. Because we knew the show would be broadcast in 4: 3, Bob chose to maximize the storytelling within that construct. As full wide shots in 4: 3 rendered protagonists smaller, they couldn’t be sustained for quite as long as in a feature film, but neither did we go running too quickly to close- ups as a consequence. Instead, mid- shots became an essential weapon for Bob, and on those rare occasions when he was obliged to leave the set, he would remind me to ensure that the director covered scenes with mid- sized shots that allowed us to effectively keep the story in the wider world, and to resist playing too much of the story in close shots. Similarly, Bob further embraced the 4: 3 limitation by favoring gentle camera movements and a combination of track shots and hand- held work, implying a documentarian construct.

If we weren’t going to be panoramic and omniscient in 4: 3, then we were going to approach scenes with a camera that was intelligent and observant, but intimate. Crane shots didn’t often help, and anticipating a movement or a line of dialogue often revealed the filmmaking artifice. Better to have the camera react and acquire, coming late on a line now and then. Better to have the camera in the flow of a housing- project courtyard or squad room, calling less attention to itself as it nonetheless acquired the tale.

In the beginning, we tried to protect for letterbox, but by the end of the second season, our eyes were focused on the story that could be told using 4: 3, and we composed our shots to maximize a film style that suggested not the vistas of feature cinematography, but the capture and delicacy of documentarian camerawork.