You're presenting complete on reality and making them feel like it's real. Well as before was captured in reality all right you've. There's in -- that you've been a couple of movie sets. When was it... See More
You're presenting complete on reality and making them feel like it's real. Well as before was captured in reality all right you've. There's in -- that you've been a couple of movie sets. When was it ever real. There was no kind of a war there and nothing over there are two of thirty people standing around the guy with a boom -- -- the guy up on a latter with his ass -- hang an out. There is fake rain. Your street night exterior New York was a day interior Burbank what was ever real. Hi everybody I'm Peter Travers in this. Popcorn where we tell you what's happening at the movies and there's a movie called side by side produced by -- on Reeves. That tells -- not just how movies are made. But what -- -- -- -- -- right here at the empire hotel in Manhattan. And we're gonna find out from key economies in -- So look we've seen do so many kinds of movies but I've never seen -- do anything like this you wanna explain what side by side is. No I mean ritual we started out as a kind of expedition -- in late 2010 and I was just looking around and -- I resist I was involved in post on -- on a film called Henry's crime. And there was a moment -- -- long story short you have a digital image that -- color corrected the film and then you're trying to -- photo chemically. Called Padilla and at the same time Paul Cameron cinematographer was showing any images five. Saying these are some images I shot on this camera for commercial at the same time from behind me is a -- and a timer so many colors digital excellent coach time for a chemical. At the same time working with technicolor in New York going -- the photo chemical process. And they're kind of telling me how the business is change. And in this moment I realized that we were in a cross section of time. Kind of evolution -- revolution which meant the end of film. I I at first Chris chameleon who directed him he's the director of the document. He had Donna documentary previously he was working on post feminist or would you like to go on this expedition when it. Is this what is this moment in time he said yes and side by side the documentary. Is about. The impact of digital cinema where we waited we come from for the chemistry wherever we -- where -- today and the future no -- musical -- -- -- Well that is in the movie those people that are out there looking at this and see you -- -- Patient care. Sometimes like this is -- comes -- -- nine my Paul beard sometimes it look like you're shooting. -- -- of your life -- is only 2010 that you started. We've worked for about a year. And Chris community wanted to kind of tell the story the process of making them. You know digital from capturing editing visual effects. -- photography in the director's. And the actors and and then technical -- I'm code etc. so. But through exploratory -- and and then while we would. Talk to someone like. Robert Reid. Since. We -- show where. Or for talking with Michael -- house and gangs of New York -- show. You know so. We're hoping -- I was hoping that the documentary would be interesting to a specialist. Industry just to hear this. Known as Christopher Nolan was Martin -- Their experiences. -- And then two. Jensen -- movies. Here's what we spoke about here is an example here and hopefully it'll be so deepened appreciation. And -- -- Story. When you decide who you gonna talked. You just get on the phone -- Myers says he. I'd love to shoot you for this documentary -- about digital photo camera. I would reach out and say you know. Write a letter or contact who -- And trying to engage. In and -- -- -- -- -- interest -- -- I think. I was passing about. What they were passed. And I think that dialogue comes across in the documentary that's kind of passion forward. It's right to interfere. With your own opinions and hear you're really good dinner and just said. What do you think of anything why -- Yet sometimes you have to be you. Yeah I think. Starting out I was more of the -- chemical. Film guy and Chris was that -- so I was more about what we lose so the body and Italy well yeah. -- but what are we gave it. Which is the dialogue which was the dialogue I think it's -- inbred and we start talking about digital image mrs. As the kind of final peace and -- -- -- diesel projects. You know at the time. Standard wasn't there and Christopher Nolan talked about were being forced as artists to make. Choice decision and we're losing this other choice what -- -- -- losing film I -- says he says to you to win in terms of the editing process he wants his fingers to -- -- -- Isn't -- all. Well. It's not cares who KK I think that extra in the Paris. And so -- it it gets practical. It's practical terms of hard work shoes. You know and then it's also. Emotional. It's emotional especially since we've grown up watching. You know we've seen view common -- these -- Laser discs in different ways to watch the process of making. Was kind of it's very rich tradition. And now it's a different finished its new tools. And that I think it's a kind of philosophy you get -- philosophies what is. The content now Martin Scorsese's that penalty young people believe you mention. You know -- how -- -- have images of children just watching images. So what is the story because -- what kind of stories -- The best thing about it for you just yet. Not what you think it is philosophically but just you practically. Practically well I I had the opportunity recently to. To direct the film I just finished principal photography. From a man of -- she was shocked -- -- studio camera. Hawk. And for me that it is the last directly or through this and -- -- -- -- and Elliott Davis -- wonderful. And usually. The contact I could have -- the image. This time frame so short. So that I could be getting real feedback with what I was getting which could inform. In a different way. Where -- might be going. So and acts -- a kind of comfort. You know it's like we -- this here's an exchange dealings the editor -- -- you know couldn't guarantee for the look on it and like. It's and you know it's an HD is not to -- birds it's. You know. And so for me going out of receivers -- nice business contact which it here. And what's the negative. The negative. Wasn't shocked them. -- The what is certainly be. -- -- -- I think -- the experience of doing it. And that's part of what the loss of that it's my experience of making a film previously sort of chemical. And out to be in the position of directing something whatever that meant that case and -- Not knowing -- later and I mean. I think I won't have that in people growing up on it doesn't matter I don't know there's a contact. There's a contact. Process and -- them. -- -- -- -- Children. -- -- -- --
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