![]() And then our film is set in the '90s so we have to find a way to make all these time periods work for the movie rather than being cute, cool, and retro. You've got the '80s with the Max Headroom incident or Captain Midnight, the actual, real-life broadcast intrusions, and the one in our film, the Sal-E Sparx incident set in the '80s. You've got '70s conspiracy thrillers, which is the aesthetic of it, with the structural components and tropes. She is someone who is streetwise and has had to hustle her way into situations, because of where she's ended up in life, to survive she feels like she has to do these things. A director friend of mine said he wanted a whole movie of just these two people solving crimes together. Mike Nichols was quoting Elaine May when he was saying, "Every scene is either a seduction or a negotiation." And, if you notice, there is a lot of that with both of them. They're fantastic actors, first of all, I love working with both of them and I think they had a lot of chemistry with each other. How was it working with them on a lighter scene, with still plenty going on under the surface? I was struck by the scene in the dive bar between James and Alice passing shots. RELATED: The Overlooked Phantasm Movies Paved the Way for Supernatural ‘80s Slashers ![]() He's very charming and good-looking and all these things so when he starts to unwind and go down a rabbit hole and lose a grip on some rationality, it starts to feel unsettling. Harry's an amazing actor and can draw you in because he's so relatable. He's active and trying to accomplish tasks, and hopefully, you'll start to get the feeling of paranoia the same way he does. We see this person and get inside of him looking at him doing mundane things. It's a first-person, subjective but also differentiating between the media he's consuming, his dreams and the future and past starting to blur and, within that, the audience is hopefully taken on a ride similar to what he's going through while also having the privilege having the parallax view of what he's doing and also having the tension and suspense of being afraid for someone. I think because this is a very first-person, subjective narrative and all the good and bad that comes with that. Harry's just brilliant! He's wonderful to work with but also very smart about rhythm, which is something I'm also interested in. How was it working out that sense of pacing with Harry Shum, Jr.? ![]() ![]() Over the film, we see James start to progressively unravel and lose his grip on this growing obsession. We shoot it really formalistically in the first part and then it eventually unwinds like the videotape for the main character. It was like the idea of having the visuals, that Scott and I talked a lot about, that should really become psyche. We took the score and ran it through video recorders to degrade it. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |