Coverage

That says, good luck, by the way. That's Russian graffiti there. And Eddie can expound a little bit on the challenges of editing this. Yeah, this was, the coverage, the raw footage was extraordinarily good. And it's beautifully lit. It was quite an easy sequence to build an assembly of because there was just so many great options and great angles.

3:45 · jump to transcript →

And then we come in and redress whatever actors were in that coverage. Yeah, you can see here. Was it SweatCon 4, the highest? I think SweatCon 3 was the highest. Right now we are in SweatCon 3. Yeah, there we go. And that should give you a sense, by the way, of the atmosphere on this set. As much as this is a scene about extraordinary pressure and tension, it was a lot of fun. They really quickly became a crew. They were all enjoying this work enormously. Yeah.

5:01 · jump to transcript →

that tends to paint you into corners. I really wanted the movie to tell me what its look was, and obviously I want every mission to feel different. And Chunky Richmond, our camera operator, Fraser Taggart, cinematographer, Martin Smith, our gaffer, we were finding the look of the movie, of the sets, here on day one, and this was the first shot, was Carrie's close coverage. And what you're seeing

16:48 · jump to transcript →

to the dwelling of the ancient one, to seek the fated sword that matches your brutal rage. Why speak ye my fortune, witch? For where your path of ashes ends. The scenes with the witches tend to be shot, reverse shot, breaking from our long takes, so there's an occasional ping-pong match of coverage here and there. The norms have spun.

33:47 · jump to transcript →

So this is one of the first days of shooting. Art the clown. His body there. That was a combination of both David in a neck prosthetic that we built and them digitally removing his head, as well as a full puppet we made with rod articulation to the arm. So anytime you were over the shoulder, the gunshot wounds coming through him, or...

14:22 · jump to transcript →

Nia DaCosta

You must stand. His little smile here. Just amazing performances in this film, and this scene in particular, I just find so... wonderful. Loved shooting it. And also my editor, because we only had Alfie for three hours a night we had to shoot, like, really out of order. SO, like, I think, on the second day we were shooting this, my editor emailed me, and he was like, "Bro, where is the coverage of the scene?" I was like, "What do you mean?" He's like, "We don't have this or this..." And it was really great because he was just like... I was like, "That's because we don't have Alfie. "So we had to wait for Alfie." But also, it was really helpful just to, like, keep us all on the same page and get a good road map for making sure we get everything we need 'cause it's a complicated scene. It's a long scene, and a lot has to happen. And, you know, when you have one of your actors who can't be there the whole time, you know, it just makes it trickier. So, having a shot list, first of all, helps, but also having an editor who is so on top of it and who is so brilliant. Also, any director will say, "This helps bring everything together."

1:29:04 · jump to transcript →