Asia, Mazda, Anna Matic discussed on The Director's Cut - A DGA Podcast - Episode 81: Baby Driver with Edgar Wright and Christopher Nolan


Boards for everything even the dialogue scenes like very sore specific scripts then anna matic's like cut to the music because the good thing about doing things to the music is actually with the action staff yoshi end up with zero fats is not like on any of those action scenes we've got millions of other setups or angles me pretty much what we show is ways in the movie and that's because if the song is five minutes long then this chases five minutes long and working with the stunt guys you then kind of light almost like reverse engineering into her visas evening immonen looks like multi camera set up she will longlens profiled moving through the garage ago those things are actually doing single camera to a plan sometimes i mean never that more than like on the you know never really use more than she cameras on main unit and usually have like a hero show and then sometimes i could be show and if you can get to hear a at the same time gray that if you'll be show is growing up your a shot forget it that's basically the way mean bill pryor lie so make sure the asia what you wanted and if you can get great be show great if not i worry about it so sometimes i say that tequila gunfight sequence it's pretty much like every shot is like an a shock and we just shoot that as moss to shop sometimes the script zipper isis kinda style having a nervous breakdown is as much as no mazda why did the scenic kinda it is what it is run and so i mean pretty much the accessing that's what we did all the way through as you just doing it in order.

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