2/29/2024 0 Comments Roger deakins wolfcrow![]() One thing we talked about very early on was, "Let's not think about engineering. That just meant a lot of me and Roger sitting around talking and storyboarding and trying things out and storyboarding again, in often the same sequences, over and over again, until we found the right way to do it.įor how long and how often did you guys discuss the movie and the challenges of avoiding gimmickry and things like that, in advance of filming? Particularly, were there any specific difficulties in figuring it out? MENDES: Yeah, there were difficulties with every scene. The choice to do it was about connecting the audience to the characters emotionally. It's like looking through a tiny keyhole on a vast expanse. ![]() Other times you're very aware of the world that they're a part of, the scale of the destruction in the landscape. Sometimes it operates almost like a horror movie in that it won't show you what's up ahead. ![]() Sometimes it shows you what they can see, and sometimes, in a key way, it doesn't. But it does move in a way that sometimes makes you very aware of the characters' smallness in a huge landscape, or gets very, very intimate with them. It doesn't go through a keyhole or follow a moving bullet or pass through a wall. You don't want them thinking about what it's doing. You don't want people thinking about the camera you want people thinking about the people that the camera is pointing at, the places that it's looking at. If you become aware of the camera, then you've failed. MENDES: We both agreed that we didn't want it to be self-advertising. The telling of those stories brought everyone together in this giant, slightly crazy endeavor. He told me when I was a small child and he was in his 70s. came from the stories my grandfather told me when he fought in the war, between 19. You just think, "Wow, a few months ago, I was just writing this on a page, and now everyone's here to make this film." That was, on several unexpected occasions, very moving. But at the same time, it's also much more moving when it happens. I was checking my email every 10 minutes to see if they'd read it. But when the writer is you, you feel very thin-skinned about it. When you send a script out to actors or crew members, you feel like they're judging the work of a writer and whether they want to work with you. But it's also much more moving when it happens. SAM MENDES: It makes you much more vulnerable, I have to say. You're credited on the screenplay, which is actually a first for you. ENTERTAINMENT WEEKLY: Let's start with the genesis of this movie, Sam.
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