![]() There’s a (subconscious) process of figuring out where Kathy is in the space, and her relationship to it. But even if you’re just cutting within a scene, the character’s relationship to the background is different. Sometimes you’re cutting to a new location, a new scene, so that re-establishing is significant. In film, whenever you cut, the audience has to re-establish where the character is in relationship to the environment. So what I’m about to say isn’t quite what Cuarón said, but my reaction to what he said. I suspect the audience could see the lightbulb over my head. His answer spoke to the relationship of the character and the environment. Watching clips from the much more down-and-dirty Y Tu Mamá También, it’s clear that Cuarón loves these uncut scenes regardless of the genre or budget level. Children of Men has a stunning car sequence that plays like one continuous moment, and a wide shot with Michael Caine that continues for quite a long scene.īut it’s not showing off, and it’s not just because he has access to great technology and master technicians. I also wanted to know about Cuarón’s lengthy, technically-sophisticated shots.Įven before Gravity, Cuarón was known for very long takes. I looked at it as an opportunity to get all my questions answered from a longtime talent crush - and if people wanted to listen in, swell.īetween clips, we talked about music and color and collaboration. Last night, I had the pleasure of hosting a Q&A with Alfonso Cuarón for Film Independent, part of a five-week series. ![]()
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