1 Burst results for "Marc Forster"

"marc forster" Discussed on The Cinematography Podcast

The Cinematography Podcast

08:15 min | 1 year ago

"marc forster" Discussed on The Cinematography Podcast

"The avenue pictures producers. Were like wall. Your friends have done a movie like this so we need to bring someone any so. I don't know anybody. And so. I just don't know talking heads. Music video one of the producers a which one which one it is part of road to nowhere Allow david burden so She said why does work with this guy in la you so. They flew me a portland. And i went up met gusts and we hit it off and and think about gusts. He's one of those directors who he sits back. And you kind of feel. Like i talked to matt dillon about this. He kind of feel like you can do whatever you want. But in a sense he still kind of controlling the whole movie. You know ahead. So i always felt like oh i can kinda delighted way one. I want you know but the same time he's back there. The puppetmaster pulling strings. And he's obviously very talented director. I loved working with them and But he always. He wasn't used to working with a crew. You know is we're used to work with a very small group of people and i had a more traditional camera systems and grips gaffer so we were a little bit more a traditional way of working and he was used to and i think a little frustrated but not maybe yeah but at the same time you know. We got along great. It was great working with them. it was a nice group of people. I work with matt since then and and we talked about gusts and experiences that film and i think anybody who worked on it will say you know it was a special kind of experience for all of us in a it. Got much better response than i had anticipated. Due to the nature of material being drunk attics. it was during the reagan times and but People particularly in the film community. Love that film you know it was a special settlement. It turned out better thought gusts always wanted to push towards the experimental and you know some of those dream dream like sequences where things that he and so them even shot later in the editing room. Either we need inserts so the editor would come down to where we needed him. Oh you got a green shirt on just standing there now law you know and it was very literally on the fly you know but Oh wow and the bubbles. When bob was looking and we got an aquarium we just blew some bubbles in it and he had met dylan like meaning in. And there's all these bubbles boy trauma now just a little aquarium. We had we did so it was all is all done very cheaply you know. And and just but gusset had come up that way. He went to raise the and he was a very More experimental filmmaker. He always loved to play around with those types of things to do our film. But you know at the same time. We're telling the story. And he put a lot of that stuff in as he went along. Which i think really added to the feeling of bob's experience in the drug world. So like when you're working on a film like that like you said that there was kind of a special feeling around i mean like was when you were making it. Did it feel like we're making a film. That's going to really have a big impact. Is that sort of was. I mean that was certainly gus van. Sands biggest breakout at Up until that point but it was kind of a very buzz worthy movie that year. And it's a movie we still talk about. Even if i get the name wrong. You know. I didn't feel that way and another example is years later i did bridesmaids. And we're we're making nfl. I i had no idea. I just thought. Oh this'll be okay. you know Became a huge hit in obviously very different movies When we did drugstore cowboy thought oh well you know. I always love from the moment script. I loved it. What a great script But i never thought it would be kind of embraced by hollywood is was and it kinda opened a lot of doors for me. I mean was west. West was because west was wilson. Were were big trucks cowboy fans and that was that was kind. They said oh. Let's get the guy who shot that you know and so it opened a lot of doors from me career wise. That probably wouldn't have open before that so well and you bring up a bridesmaids to me. It's like as i look at your career and probably what you're known for. Best nowadays are your many collaborations with wes anderson but you've also done movies like bridesmaids or the new ghostbusters movies that have an improvisational quality to them. And it reminds me a little bit of when we talked to roberto schaefer. Who'd worked with marc forster a bunch and everything was very specific and contained and then he also did like a bunch of christopher guest movies where it was like anything goes and i was kinda wondering how that dichotomy works for you so closely with wes anderson where everything feels almost like portrait photography. It's so specific and then going onto something like bridesmaids where where. I'm assuming you have to create an atmosphere where if melissa mccarthy decides to run forty feet to the left she can she can do it if she has that instinct or or you know the director asks for it. What's the dichotomy working in there in in your own head. Well the first movie. I i did in. That style is get him to the greek next door directed at it was jonah hill and muscle brand and When i got hired the first thing they told me was the cross you everything so with west. Everything's always one camera. This is what the shot is with those movies bridesmaids. Everything is across shot. So if you and. I are sitting at table having a conversation. A camera media camera new and that is because so much as improv. And you can't recreate that and so that was a challenge. Right away is like oh shit. You know assume otographer. That's like death. You know any like two directions wants to make it. Look good but you know. So you accept that challenge and you realize that you're servicing a the material and the actors really heavily in that situation so you know visually. It's not going to be a wes anderson movie or drugstore a challenge to do that because we shoot everything and and you know it's sometimes as for you could feel ally could have done a better job with us one camera you know but you know that's the way if you go into that style that's what you take it but it also gives the actors a lot more free with paul feet who directed all those movies except he comes from comedy. Do improv when you watch someone like russell brand or kristen league muslim mccarthy or whoever watched them work you can see that they they want that freedom to do what they can do and where to create whatever they're going to do and that's their genius in a sense and so is a super tiger for i try to accommodate them as best. I can and allow them to have that space. So it's more of a general style lighting and you know we're we're dali still moving we can make corrections whereas west everything is so specifically. You would do that but for them. Were always if they're moving around. We're we're moving away from them. You know to make sure the shot still look good. You know so it's a different style. Took it as a challenge. I mean the only issue ads is those are all big studio will reason so. It's kind of a lot of cooks. You know in the kitchen there and were west. There's only one guy making the decisions nets him you know. That's all you have to worry about it. You don't have to worry about them studio guy complaining about that. Just doesn't have less. So i enjoyed it. I love work with bob. Dole's guys live phone in the sets are fun. I mean you all these comedians onset creators laughing and.

wes anderson gus van matt dillon bob roberto schaefer portland reagan la dylan matt marc forster david christopher guest Sands melissa mccarthy nfl jonah hill wilson hollywood