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#filmedit – @birdmans on Tumblr

@birdmans / birdmans.tumblr.com

am i not merciful?
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I just have to tell you a Macbeth story I was really proud of. When Denzel and I were rehearsing Macbeth, at one point, he said, "So how do you think we met, Macbeth and Lady Macbeth?" I was thinking to myself, really, we're going to talk about Lady Macbeth? Okay, all right. Why not? I can go there with the best of them. I said, "Shakespeare wrote this other play called Romeo and Juliet about two kids who were 15 and their parents don't want them to be together. They get together anyway and get married, and instead of committing suicide, they turn out to be us. He went, "Okay," and that's who we are. That's really palpable in our portrayal of the couple. We feel like we've known each other since we were high school students, and we trust each other that much and also we know each other that well. It's great. — Frances McDormand

The Tragedy of Macbeth 2021 | dir. Joel Coen

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One of the best shots in Phantom Thread takes place at the end of a New Year’s Eve party as the two characters dance alone in a deserted concert hall. A spotlight beams down on Reynolds and Alma as they embrace, their love isolating them from the chaotic aftermath of the party that surrounds them. The crew revealed that shot was done on the fly after all the extras and the majority of the crew had left the set for the day. Anderson came up with the idea after seeing the abandoned set and wanting his characters to share a romantic moment in the now-quietness of the busy scenery. The director rounded up the crew that remained and got the shot in 30 minutes.

PHANTOM THREAD 2017 | dir. Paul Thomas Anderson

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“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

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And I want to tell you that I don't, and that I did it because I think I loved you. Because I think I still do. And because I knew how happy you could be—so much happier than I ever could—but how tied down you were by your own fear and guilt. And that I don't think you ever really wanted my friendship, so I gave the best thing I could. The thing you really wanted to take anyway, I think.

THOROUGHBREDS 2017 | Cory Finley

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