![]() We still have no idea what our future will be. We've been in this country for a year and a half and I'm directing my second movie. We've only been home for christmas since. ![]() So we just had to lock our front door, Lotta quit her job (I was pretty much unemployed anyway) and we flew over. "The movie is happening, can you be here next week?". It was last march that we finally got the call. Once they were on board Lawrence flew me and Lotta out to LA to meet everyone but we still didn't know if the movie was happening or not. He was the one who got James Wan on as a producer and Eric Heisserer as a writer. One of them was producer Lawrence Grey who wanted to develop it into a feature. I started getting emails from all these people in Hollywood after the short went viral. If people hate the movie I'll just blame the writer :-) None of the other ones were shot that way.ĭirecting scripts by others feels great. I wanted to shoot Annabelle 2 with anamorphic lenses but was told no. Since this is a franchise there are things they don't want to change. I'm sure it's crazy doing a $200m Marvel movie or something. It's still a low budget by Hollywood measures so I guess they don't worry too much. I was surprised by how much freedom there was on Lights Out though. The answer is after the camera operator says "set".Ĭreative freedom feels about the same. There's like all these things before then like "roll sound, sound speed" etc. The storytelling aspects are the same and even things like lighting are the same principles as when you're lighting with ikea lights.īefore we started shooting I had to take the assistant director aside and ask him "so when do I say action?". Just a lot of stuff about how movie sets work.
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