In an age dominated by digital media, the independent film “Hundreds of Beavers” is making a notable transition back to traditional film. This quirky homage to silent cinema, directed by Mike Cheslik, has successfully struck a 35mm print, much to the delight of its producers and fans alike.
From Joke to Reality
The story behind “Hundreds of Beavers” began as a lighthearted joke among the filmmakers but quickly evolved into a serious endeavor. Producer Kurt Ravenwood recently shared his excitement about the project, which led him to tour the Library of Congress’s vaults—an experience usually reserved for major cinematic icons. It was here that he viewed an original print of Edwin Stanton Porter’s classic silent Western, “The Great Train Robbery.”
“We made this film very cheaply, and part of the way we made it cheaply was by having the entire workflow be in 1080p. So in a way, it’s a joke to print a movie onto 35mm, but it’s also an artistic choice,” Ravenwood explained to IndieWire. He emphasized that the entire production and artistic vision of the film pay tribute to early cinema, including the nostalgic aesthetics of both silent films and grainy 16mm footage.
Control Over Distribution Rights
One key factor enabling the transformation of “Hundreds of Beavers” from digital to film is the team’s ability to maintain control over their distribution rights. This autonomy allows them to explore different avenues for exhibition and presentation without relying on a distributor.
“We don’t have to wait for a distributor who’s moved onto their next movie to keep doing things,” said Ravenwood. This flexibility has paved the way for over 200 theatrical screenings, festival appearances, and even a unique roadshow featuring live beaver wrestling alongside the film.
Ravenwood took charge of navigating the technical complexities involved in creating a print from a digital movie shot on a Panasonic GH4. He consulted independent theaters that previously screened “Hundreds of Beavers,” leading to a partnership with Cinelab, a Romanian company known for producing film prints.
The Technical Challenges
Converting a 1080p digital file into a viable 35mm print posed several challenges. Ravenwood recounted the initial confusion experienced by Cinelab after receiving the digital file. “They were a little confused as to why they were getting a 1080p movie file, and I explained to them that that’s what our movie is. We had to have a little bit of back and forth on frame rates,” he noted.
Fortunately, the Oriental Theater in Milwaukee, recognized for its stunning architecture and skilled projection team, assisted in the proofing process, ensuring that the film was ready for the big screen.
Unique Characteristics of 35mm
As Ravenwood observed the test print, he highlighted some aesthetic attributes that set 35mm apart from digital formats. He described the whites as beautiful, with a subtle flash not typically achieved in digital projection. “There is something special about that flicker and the kind of softer look of it. It’s not as sharp as our digital projection. The sound has a more rounded quality that’s hard to describe,” Ravenwood remarked.
He expressed anticipation for how the single print will develop its unique character as it travels across various theaters in the United States. “It’s going to get its own little weird patina as it travels around the United States,” he added.
A Cinematic Journey Begins
Now, the journey of “Hundreds of Beavers” on 35mm is set to commence, kicking off with two prominent screenings: one at the Texas Theater in Dallas on February 26 and another at the Somerville Theatre in the Boston area on March 7. Additional screenings are planned for various venues, including The Music Box in Chicago, IFC in New York City, Cleveland Cinematheque, The Loft in Tucson, and the Hollywood Theater in Portland, Oregon.
This shift to physical film also symbolizes a commitment to permanence in a world largely reliant on digital files, which can often feel fleeting. Ravenwood reflected on this phenomenon, stating, “I have hard drives from 10 years ago that I have no idea how to get on anymore. All of our movies are on these hard drives and in the cloud—there’s just something really beautiful about having it on this permanent physical medium.”
For Ravenwood, delivering a tangible film print to his director feels especially rewarding as a producer in this digital age.
Honoring Physical Media
In a nod to their love for unique formats, the “Hundreds of Beavers” team has also announced a limited edition VHS version of the film. This playful gesture underscores their dedication to preserving the charm of physical media in an increasingly digital landscape.
As the film embarks on its cinematic journey, it raises hopes that it will still exist in a vault somewhere a century from now, allowing future generations to experience its quirky adventures. But for now, audiences are encouraged to catch the film in theaters while they can.
Theatrical screening information for “Hundreds of Beavers” is available on their official website.
