![]() Discovery SVP for digital sports strategy, said.ĭespite the uncertainty around the platform’s future, Bernstein said TikTok remains a priority for the company, which operates popular Bleacher Report, House of Highlights, and other accounts, largely because of how much time younger audiences are spending there. He brings his own magic touch to everything.“We’re not watching C-SPAN 24/7, but we definitely have Google News alerts, and everybody is following the trades and trends where it looks to be headed,” Doug Bernstein, Warner Bros. That's why he's Wes Anderson and the rest of us aren't! We can set up the shots without him even being there, but then when he comes, he puts the final touches on it that just make it his movie, you know? It could be rearranging props, and even on the inserts, he's very involved in how everything goes. Having seen a lot, they bring home how hard it is to make something like that look good. But I just thought, Okay, okay, we've seen these now, you know, and I gotta be honest, I'm not into 'em. I mean, they were made as an homage… you know, it's all positive. And, you know, I kind of have mixed feelings about it. Have you seen many of the Wes Anderson TikToks? That was our mantra, you know? And now there's hundreds of visual effects, things that are done digitally in post. When we first started, everything was in-camera. When he did those two animated movies, which I wasn't involved in, it opened his eyes to other possibilities: we started doing more things like forced perspective and sometimes we're shooting elements that will be incorporated with other elements. ![]() I think that Wes has evolved as a filmmaker. How has the style changed since Bottle Rocket ? It was a cutaway, I believe it was three-quarter size. So that was a very complicated shot for us to pull off. And that was really difficult because it was totally designed to the voiceover, so we had to hit certain marks at particular times, and some of the moves were very fast. And, uh, we kind of see this room and then we boom up, and you see that room and you go across and you move down. We rarely use them anymore, but it was a technical crane on a track. One of the ones I liked the most was in The Life Aquatic when Bill Murray says, “Let me tell you about my boat.” And we explore the entire boat. But symmetry is very important, and the sets are designed for that.ĭo you have a favourite sequence from your 11 films with Wes? Very vibrant colours is part of his look. He likes doing the switch-pans and if he wants to hide a cut or something in between takes, he's able to do that. It’s very fashionable to shoot with a very shallow depth of field, but with Wes, it's just the opposite. Wes, when he shows up, one of the first things he'll ask is, “Are we centred?” So that symmetry is obviously a very important thing to his style. We carefully tape it out so we know we're in the centre. Well, one thing we always do is if we’re in a room, we find the centre. ![]() Brown // Getty ImagesĮveryone knows roughly what a Wes Anderson movie looks like, but what do you think are the key elements? But because Wes is so precise on the framing and compositions, even if you're off a little bit, that's not acceptable. So we had to make a track that would go sideways and in and out – typically you might use a steadicam or a technocrane to do a shot like that. Wes was eager to do it all in one shot, he walks to one end of the stage and the other. There's a scene where Jeffrey Wright is giving a speech. What were the trickiest shots on Asteroid City to get right? We spoke to the veteran cinematographer about his latest project, as well the recent rise in social media tributes to his buddy, Wes. He's the conductor and we're the instruments.” The Anderson process is “like painting a painting, in a way”: move that prop just so, pull out some more details in the set, find a nod to an obscure film. “Once we started doing it I would really love it," the 72-year-old tells me over Zoom, a week ahead of the film's release. It took me a little while to get on board with that, I'll be honest.”īut as tends to happen when you’ve been working with Wes Anderson for 11 movies and 27 years, as Yeoman has, he came around to Anderson’s thinking. I think Wes was eager to just say, 'Okay, let's just embrace that this light's kind of harsh and make that part of our film'. ![]() “I'm always trying to shoot everything early morning or late afternoon when the light's really beautiful and try to avoid that harsh noonday sun. Robert Yeoman found this out the hot, sweaty way while working on Asteroid City, Wes Anderson’s new desert-set intergalactic adventure. There are better places to be a cinematographer than Chinchòn, a small town outside Madrid.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |