Composition & framing

Quite often. Oh, yes. Jay always liked to do this. I like to exit a place where there's a big picture window and then be seen running through the big picture window in the background. There. Yes. That's how you would leave the set every day. Yes. Well, when I first met Jay, I think he did that, where it was that gag. And he would continue. Again, we have another really good, fine actor here, Enrique... Enrico Colantoni. Yes.

43:19 · jump to transcript →

An old friend. Okay, hold on. Here we go. 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 Plaza Vecchio.

1:17:56 · 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 →

Richard Curtis

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 →

and the switching and twisting it up and keep twisting it up and adding something to it. And so that's where this idea came from here. It takes off the collar in the terminal that you see Lori go and pick it up and walk away. And that's a completely fabricated shot that I did. I stole her shot from something else. It's actually when she's getting up from zero gravity in the fall. I stole that shot, repeated it again, put the background.

1:47:48 · jump to transcript →

Wes Anderson

That was done in two rounds. That was done in two rounds, I think. We had a foreground thing and a background thing. But, Jeff, remember, this is in that big stadthalle that I said was-- Sort of Nazi-period auditorium where we have the dining room there. This is the entrance of that place, this lobby. This was just shot right out there, if anybody cares where it was shot. And this is where we begin this sequence that is sort of--

51:55 · jump to transcript →

No, no. I think the side shot is a composition of shots. But yes, there was a stunt double, which was actually the owner of the dog. And it was this woman and some other shots. That's the one. There's a combination of many things. And actually, if you take a close look... Oh, there you go. That's your first moment, yes, in the movie. I think this one here is actually the punch. And the cut to this moment here. And...

1:17:42 · jump to transcript →

Francis Lawrence

One of the things that we also did was we cast out all the Sparrows. We knew that we were gonna have a class. I think it was about 24 of them. So, we cast them, and they were, you know, not really background extras, but sort of halfway between background extras and cast. They didn't really have any speaking roles. But they were gonna have to do some things and they were gonna have to be there every day, and be recognizable. And it's kind of fun, 'cause you sort of put this group together that ends up existing and doing things together and braving the cold outside on the runs. Fifteen-foot jump shot from the left wing... Too strong off the back iron. Rebound, fought for and controlled there by Sellers... The big man, ninth year out of Colorado State... When did you first notice the tail? Week ago. And what do you make of that? If the Russians are still following me, it means they're looking for him. Here we are, back with Joel. He's been suspended, and he's just caught on that he's being followed, which has tipped him off to the fact that his guy Marble, who he knows he sort of jeopardized the security of, back at the park in the beginning of the film. He could still be out there, and he's probably not caught if they're following him. Great cast here. We've got Sakina, Bill Camp, two great actors that carry through the rest of the movie with Joel, and end up going to Budapest with him. That'd be me. We'll be coming with you. Bill, a big fan, I've seen him a bunch of times. He's worked, I think, four or five times with Joel, too. But he was a blast to work with. I think he's a great actor.

37:58 · jump to transcript →

Tim Burton

He's not a big action star, but he's got a crazy look in his eye. You can understand why this guy would dress up like a bat. So that made a psychological sense. But in Beetlejuice, it was very clear that sort of manic energy and, you know, in Michael's background in comedy and all that sort of thing, which helped in sort of improv and making things up, was very exciting to work with. Mike and I talked about On and Off over the years, and I don't think he had ever any burning desire to do another one, only if it felt right.

25:59 · jump to transcript →

Christien Tinsley

Did you see the mic come into the frame? No, I didn't. See the mic at the top of the... That was hilarious. Anyways, I hope they find that. I'm going to tell Damien about that. You didn't see it? No. I came like a foot into frame. It was like down to here. Anyways.

1:21:30 · jump to transcript →