“No, I only want one camera, this is what the shot is, and we’re doing it.” Once you set your mind to that, it’s funny what people are able to accomplish.
So the next process was going to a space where they had harnesses. Then it ended up being more of a montage.
My assistants and I took a GoPro to a pool and created and shot an underwater waltz. CAMERA WORK Kantstrasse 149 10623 Berlin Dienstag bis Samstag 11 - 18 Uhr 030 3100776 info@camerawork.de INSTAGRAM FACEBOOK IMPRESSUM IMMER UP TO DATE BLEIBEN! So it was all about those nuanced movements.Here’s a good one. Very early in rehearsals, my gut was telling me we needed to do something really cool on the bench.
I remember Ryan saying something like, “God, I just feel like a gangly monkey here.
Damien and I would watch films and dissect them, and just go “Oh, I love how the simplicity of that handheld camera makes you feel something.”It was a very layered process, for sure.
He loved how this tap step could be an expression of freedom, or a tantrum of some sort. My extremities are everywhere, and it’s hard for me to control my body.” And then with practice, you get it. The dancers looked odd in the frame. So I created a little section for it, and Damien said, “This is great, let’s stay on the bench longer!” There were a lot of those moments. He’d been watching old Fred Astaire musicals, and he loved how Astaire would come into a room and do this obnoxious tap sound as an entrance, and everyone would look at him, and he’d just brush it off and walk right on.
From that, we put together a big model, with Hot Wheels cars, for the layout.Funny enough, the flying sequence was originally supposed to be underwater. Check out a set of behind-the-scenes videos from the set of 'La La Land', giving a glimpse at how the Oscar favorite pulled off its fantastic camerawork. As you can see from the video and GIF above, the camera man physically ‘whipped’ his cinema camera around on its tripod, perfectly framing Emma Stone and her co-star Ryan Gosling one at a time as another crew member cued him with shoulder taps. So that one was fun, because we just got to create. [Stunt coordinator] Mark Kubr and the stunts department worked with me very closely, and with the music department, to make sure all the stunts was on cue.
So when he jumped up on the bench, I said, “Well, why don’t we try something there like you’re trying to get your frustration out? We all know La La Land has great camerawork but it wasn’t until I looked at his Instagram that I understood how much manpower went into some of the shots. The only thing Damien said was, he never really wanted it to turn into some big production number where everyone was flipping of off cars and doing cool steps everywhere and pointing at the camera. We spent hours just talking about shifts in weight, how a step done a million different ways can say a million different things. The camera wasn’t able to get there. He just said “Once they’re on their cars, I want it to feel strong, like a Jerome Robbins number.” That was really all.
The first 90 percent of that number was logistics. Plus: how camera problems changed the opening number, working with “gangly monkey” Ryan Gosling, and moreAnd all those ideas are actually in the film, just about these girls making fun of Hollywood, but also being in Hollywood, and knowing they have to play the game. So many other departments have to pre-do so many things before I ever get to do my job. I said, “Guys, we’re not shooting coverage on this. One day we’re rehearing that, and Ryan comes in. There’s a little movie-magic in there for sure, I’m not gonna lie. And I mean “City Of Stars” was originally going to be a different number that Ryan and Emma sang together, with a dance we created. It was a lot of planning, and then last-moment praying and hoping.
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