![]() Eight production assistants worked on crowd control. Keaton’s movements were accompanied by only four people: Lubezki the focus puller the boom operator and the digital imaging technician. Crew was kept to a minimum, to draw as little attention as possible. If the shot was too early, the lighting wouldn’t work too late, the crowd would thin. On the afternoon before the first take, a fully dressed Keaton walked through it with the director.įilming: There were four takes, starting at 8:30 p.m. Prep: A week before filming, Inarritu and Keaton walked through the scene. The camera starts with an over-the-shoulder shot, then moves laterally with Keaton, then moves in front of him, to show his reaction as people recognize him and want to take his picture. ![]() “It had to be intimate but spectacular - massive.” Inarritu and cinematographer Emmanuel Lubezki worked out the logistics of the scene, which takes place at night, and decided which angle of Times Square offered the best lighting. ![]() Creative challenge: The scene had to show Riggan’s emotional, manic state of mind, says the filmmaker. ![]()
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