joewright:Joe [Wright] loves playing with time, but in a similar way, he likes for a shot — in one t

joewright:Joe [Wright] loves playing with time, but in a similar way, he likes for a shot — in one take — to be both subjective and objective. We see Anna and Vronsky move onto the dance floor and sort of activate these dancers with their passion, so there’s already a metaphor at work. Then it goes from the real gradually into a more psychological sort of space, when he lifts her up and the camera swirls around her. At that moment there was an almighty stampede behind the camera and underneath the camera as all the extras had to kind of evacuate the auditorium really in the space of five or six seconds! But it’s an exciting technique to explore, because when you have that symbiosis between your actors and the camera, you can create another layer of dynamism. It’s a cinematic, sort of architectural travel. And that’s always the goal. It’s not to make a peacock of a shot.— Seamus McGarvey, ASC, BSC -- source link

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