With every show I have done with Ryan, there is a defining color, and it’s one of the first things we discussed during our initial prep. For instance, with Ratched, it was green. Hollywood was mustard and golden tones. Dahmer was a dingy, depressing yellow, and Monsters was blue.
The idea was that Zoe is kind of taking control of the film at this moment, and she also takes control of the cinematography. She can point that very hard light that follows her to the people she talks about. She’s also able to bring the camera with her. We had built this lighting system that remotely operated and was able to point at every time ever she would go, you had a lighting operator that was able to follow her in the space.
The question Jacques would ask every day, “What is the sound of my movie?” We didn’t have the answer, but we did a lot of things to be sure that in the end, he would have the answer. So coaches were there when you needed them. When you need a live musician, we’ll do playback now we’ll record it when we are shooting. Now we will do it in post. I was one to coordinate all these things.
“We always thought the story was about how the Red Sox changed who they were, their culture and everything. We looked at it from ownership, baseball operations, front office and clubhouse, and we thought Kevin [Millar] was the guy who really changed the culture of the clubhouse. He was kind of the instigator to everybody’s together or one big family.”
“We didn’t have the budget or the time to be able to light everything in the gym. We just used available lighting. We were shooting at this place called The Pit in Albuquerque, which is huge and they broadcast games there. There was enough light but in that case, how do we make this one piece about getting into his head? Let’s turn almost everything off and just play with this idea of creating this world like the spot.”
It’s been too long since Angelina Jolie was in the awards conversation. She probably should’ve been for directing the uncompromisingly grueling By the Sea, but hopefully, she continues to receive more accolades for her performance as singer Maria Callas in Pablo Larraín’s biopic. The festival buzz has been strong for the film, which is unsurprising given Larraín’s talents for making biopics more personal and subjective than just another set of cliff notes adapted for the big screen.
Netflix will release Pablo Larraín’s Maria Callas biopic, which stars Angelina Jolie as the legendary opera singer.
“You want everyone’s work to shine. My job as an editor is to bring out the best in everybody.”
“There was a lot of preparation, especially when we got Olivia Colman and Claire Foy confirmed for the episode with Imelda Staunton. We always knew about the last scene, having three queens altogether would be iconic.”
“Some things were kind of surprisingly homey, and I thought, if I replicate this, it’s going to look like we can’t afford to do this stuff.”
