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February 3, 2015

Day 8 of 70

You write all these scenes and each one builds upon the next in a very specific way. Then you start to conceive of how you'll shoot them and figure out how individual shots will highlight that crescendo and visually underline the emotions you put on the page. And then one day you're on set, an hour away from lunch and you're about to shoot one of those shots - a very specific one which will be the culmination of 90 minutes of emotion you have absolutely not filmed yet. Your head spins and you feel like you don't have a grasp on what it is you're doing, and so you think about the shot, and break it down into mechanics - the camera starts out here, for starters, and winds up there, and maybe if you shoot at 33 frames per second it will give you a little bit more of that feeling you're looking for, and if you move a second fan over here you'll get the wind to move that lock of hair just so as the camera passes betwixt its marks. You create this very mathematical context and then you throw an actor into it and all they have to do is turn their head just so and think the right thoughts and you roll the camera and an entire imagined history suddenly reaches its apex right there in front of you. And from that point forward, you're working backwards just as much as you are forwards.

Sometimes it works that way.

Posted by David Lowery at February 3, 2015 1:55 AM