The part I’m most proud of is the bookend shots of the Le Sans Blague sequence. The camera starts outside, the walls [of the cafe] open up and we move into the room. The sequence ends with the camera inside, and the walls open again while Timothée and Lyna lean against the jukebox. It was all very tricky, with the lighting changes. — Robert Yeoman
THE FRENCH DISPATCH OF THE LIBERTY, KANSAS EVENING SUN 2021 | dir. Wes Anderson
“The first swap was a repeated move where we did the shot with Anya and Matt, and then just did it again with Thomasin. Even when we were doing it, I didn’t know we were going to be able to pull it off. And the reason it’s so good is because Matt Smith and Anya and Thomasin’s continuity is just so dead-on. And I was like, ‘Why don’t we just shoot all of them?’ ‘How long can we keep this going?’ Because it’s intoxicating to watch. That’s supposed to be the idea of the scene. The first dream sequence is alluring and glamorous and intoxicating, seductive. So that was how it came about. Other than that shot, you’re watching one unbroken take. Watching that is like an amazing dance in itself, because really, a shot like that is a collaboration between the three performers — and then also the fourth performer in the scene, Chris Bain, the Steadicam operator. The shot stands and falls on him being in the right place at all times. The idea was, the longer we can keep these shots going, the more immersive it will be. You feel like you’re living vicariously through her. It’s about not breaking the spell. It’s like we’re showing you a reality of something, even if what we’re showing you is very fantastical." - Edgar Wright
LAST NIGHT IN SOHO 2021 | dir. Edgar Wright
I have to go home. You are home. ALMOST FAMOUS (2000)
Whatever you end up doing, love it.
Cinema Paradiso dir. Giuseppe Tornatore
Hey, fuck off, Johnny Utah! Turn my pages, bitch!
WHIPLASH 2014 | dir. Damien Chazelle
