Since the beginning of his director career with "Bottled Rocket" in 1996, Robert Yeoman's photography has been an inseparable element of Wes Anderson's unique style-but his new fantasy farce "French Express" brought the two to the new the height of.
"This is how we work," Yoman said simply, describing the new combination of fast-changing tracks of Anderson's iconic flexible Dolly lens, and the embrace of more black and white shots in the new anthology film.
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"We can not only move laterally, but also in and out," Yeoman said, "and Wes is very precise in composition. If we try to shoot with Technocrane or Steadicam, we will never get that kind of accuracy."
Anderson and Yeoman were originally just to tell the story of a prison inmate with a talent for abstract art. After conducting several color and black and white tests, they decided that this appearance is very interesting and can run through the entire comedy. The background is the fictional French Free Press Agency. Kansas Evening News.
Five episodes were filmed, four of which were built around a writing task supervised by the indigestible American editor Arthur Howitzer (Bill Murray). A huge, uninhabited building, Yeoman said, is just like the team’s previous efforts, the "Budapest Hotel."
This time, a former felt factory in Angoulême, a real French town in the New Aquitaine region, was used as a prison, gang hideout, courtroom, and newsroom, Yeomen said-that is, once they managed to get on the floor Holes are punched in the ceiling to allow multiple layers of cameras to fall.
"Most of the time, Wes kind of rejects new technologies," Yeoman said. "He wants us to find the old way of doing this. We don't use a camera — we use a golf cart as our camera. He prefers the old-school approach."
His eight collaborators said that modern technology cranes and multi-camera shooting, the standard tools for most scenes, are not interested in Anderson. On the contrary, the "French dispatch" relied on scaffolding, and the staff used ropes to drag the equipment up.
At the same time, each lens has been carefully composed and illuminated, usually with perfect symmetry, and is suitable for 200-ASA Kodak 35mm film that requires strong light. Yeoman said that one of the advantages of single-camera shooting is that the lighting can be perfected for each composition. If two or three cameras cover a scene, this usually has to be compromised.
Fortunately, senior DP said that LED and SkyPanel are allowed. "We can make it darker, hotter or colder very quickly," he said of ultra-bright, lightweight flat lighting.
Yeoman is also known for shooting the disturbing world of Gus Van Sant's "Drugstore Cowboy" and Noah Baumbach's "The Squid and the Whale". He said that many of the limitations of working with Anderson still allow creativity on set. In fact, this is often necessary to provide the well-designed shots and moves he wants.
For "French Express", the team usually chooses to shoot a carefully choreographed cast, including Francis McDomond, Tilda Swinton, Saoirse Ronan, William Dafoe, Adrian Bro Di, Timothy Chalamet, Benicio del Toro and Elizabeth Moss, as well as Arri ST and LT cameras, Cooke S4 prime lens and occasional zoom.
Many actors will get annoyed by the director reaching so many precise scores so that their performances fall into the elaborate composition just right-most directors want DP to follow them at least to some extent. However, Yoman, who worked with Anderson, said, “If the actors block each other or they are not where they should be, we will shoot again. At first, some actors had trouble with this - but then they solved it.”
Moreover, just like in "Budapest", the screens of the movies mostly use a 1.37:1 square college aspect ratio.
“He challenged everyone, from photographers to every department and actor, to jump out of their inherent thinking mode and come up with a new method,” Yoman said.
"A lot of times he would describe what he wanted to do, and I would think,'Man, that's impossible-how are we going to do it?" But I can honestly say that there has never been a shot that lets us say we don't know How to do this. We think of a way."
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