Composition & framing

Rob Cohen

including sharing proprietary software, passing backgrounds and foregrounds back and forth, depending on who was responsible for what. So there you have a Rhythm and Hues background and a Digital Domain Under-Mummy, and here we're back to a Rhythm and Hues terracotta mummy.

1:06:31 · jump to transcript →

Rob Cohen

We built this huge head of Jet in the deserts of Tianmo, a very inaccessible place, way above Beijing. It's a site where the original wall actually still ruins of it. You can still see the northern wall and that wall that you see in the background we built.

1:24:47 · jump to transcript →

Rob Cohen

Oh, that was Marc Pitre dancing by there, my co-producer, right-hand man. Thought I'd give him a plug for all the hard work. That's Derek Spears, the little guy looking down the girl's dress. There to the right are Brendan and Maria. Maria in a beautiful silver lamé dress that Sanja designed. Vic Armstrong is dancing with his wife in the background. And if you go back and you see this bald little guy dancing with the tall, beautiful pregnant goddess,

1:40:34 · jump to transcript →

And The Key is something that he knows is a pivotal moment in his career. It was a great success and a success also that transcends kind of the box office takings. It was a kind of a big revolution in his way of framing the world. So yeah, there is an explicit reference to The Key in Cheeky.

1:11:36 · jump to transcript →

you know, from all points of view, from the set design and kind of actresses and the way of framing things, he really kind of put himself in a corner. You know, a Brass film had to have such specific elements to be considered by the public an authentic Brass film that there was nowhere really to go. And in a way, every time he did try and step in a different direction or attempted to do so,

1:20:10 · jump to transcript →

Ron Howard

inside on a huge sound stage at Universal Studios. But the development of the atmosphere, the skies in the background and so forth, is something that we were able to really use digital technology to enhance, so it looks less theatrical and a little more like a real world, less pure fantasy. But if you check, you know, the clouds are always moving in the background, and you get the feeling of slight light changes, and we were constantly trying to give you the sense that...

35:45 · jump to transcript →

Ron Howard

Great matte work, great CG work there in the background, creating the whole valley.

1:00:59 · jump to transcript →

Usually I like to make the movie have a little bit of a European touch, no matter the music or the mood or the camera work or the framing. I want to make it look like a European film, you know, that kind of feeling.

16:04 · jump to transcript →

Tom on a cable, so he need to drop from 80 feet and descend into the camera, you know. And then we CG everything, moving background and the city and the helicopter, the all CG. So it means that Tom still need to do the real jump, you know, from the very high place. It's scary also. The original idea was that Tom need to jump from outside the building.

1:08:25 · jump to transcript →

that was huge so that Elijah and the other hobbits would look tiny. And then we built the bar normal size so we could film the normal people. Some of these big people that are walking around in the background are actually people on stilts. Like that guy there. See that guy walking past Mary? He's actually a person on stilts. And that one behind there. It's actually a five foot tall gymnast.

59:46 · jump to transcript →

Pete, when you can flip a shot, why does that matter? Well, sometimes you can flip a shot and get away with it, but often if you flip a shot, people's faces look different because people don't have perfectly balanced faces. And also, often, you know, not so much with this scene perhaps, but often you can tell by things in the background and stuff. The Council of Elrond...

1:38:31 · jump to transcript →

And you used a lot of his things that Paul owned and had in his house, his decoration. Yeah. You used in the movie for Joel. Yeah, it was a great background element. Yeah. Okay.

29:52 · jump to transcript →

Well, the voice of Tom Wilkinson is really recorded on the tape and it's hardly audible. But I think it was nice that you could just feel he was behind, like in the background. And by now we find out that he's not like this wise man, this wise scientist we thought he was.

1:23:44 · jump to transcript →

Ridley Scott

Now, because this was a set, this background here is pretty seamless, actually. Green screen. That's real. This is a shot across the balcony of the Palazzo Vecchio.

1:18:02 · jump to transcript →

Tom Tykwer

This guy in the background, who was hardly in focus in the beginning, raises his voice and suddenly he's in the center of attention. So we have this picture here where he suddenly sits down and he's in the middle of, in the focus of our view. And still it's this kind of boyish, innocent-looking young Carabiniere who we still cannot really believe what can his role be in this whole drama.

13:55 · jump to transcript →

Who is this singing? It's Otis Redding's version, so great. Almost my favorite music, here. - Stop it, he's good! Look, my favorite performance here. Just watch, nobody else would have realized that. That's the brother who had sex with his girlfriend, in the background of the counter shot. Have a look. Isn't that a great bit of acting? Guilty brother there. Guilty brother. Still gotta celebrate Christmas with them. I

1:34:04 · jump to transcript →

The thing when you say yes to a film is that you have to kind of throw your entire body into it. And I knew that this was going to be literally that. And yet I was so excited by it because I was a ballerina for 12 years of my life. And in many ways, I always looked at that as my theater background, telling stories with your body. And I liked that about this character, that she didn't say much, that she didn't have major monologues or she didn't really know how to verbalize her feelings.

20:15 · jump to transcript →

Wembley. "How did we shoot Wembley?" This is a big question. So... We shot the exterior because they were working in the interior of the stadium when we shot, but they... they gave us the opportunity to shoot in the exterior. And this stadium is not Wembley, it's the Millennium Stadium in Cardiff, which is so similar with Wembley. And we worked with the special effects on the arc, on the exterior arc. And the seats. - Yeah. The seats are red. And I think the special effects crew made fantastic work here because... With the grass, too. ...because we shot this in different layers and the composition, the final composition at the end, it's great.

1:29:41 · jump to transcript →

James Mangold

you again see these shots I love where the focus pulls between a foreground element and a background. I got to take a piss. You know, I thought he was going to shoot me back into the thing. I really thought he was going to do it. You know, there's a wildness in his eyes. It reminds me... He's going to be nothing like you, Wade. Now, you can see at this point, their relationship has developed to a point where Wade...

1:07:40 · jump to transcript →

Look at him go, wait, man, this matches me step for step. Watch this shit. I enjoy what Robert's doing in the background here. Except he takes it a step further. Yeah. Robert's checking out what's going on in the back there. That's lovable. Man, you a butch motherfucker, dude. You a real soldier. See, what I love about you, Robert, in these scenes, you're doing huge stuff here. It's like...

40:24 · jump to transcript →