Robert Yeoman’s camerawork has been an inseparable element of Wes Anderson’s distinctive style since the dawn of the director’s career in 1996 with “Bottle Rocket” – but his new fantasy farce, “The…
“It’s how we work,” says Yeoman simply, describing new combinations of quick-change tracks for Anderson’s signature nimble dolly shots and an embrace of more black-and-white filming for the new anthology film.
This time a former felt factory in the real French town of Angoulême in the Nouvelle-Aquitaine region served as prison, gangland hide-out, courtroom and newsroom, says Yeomen – that is, once they managed to punch holes in the floors and ceilings to allow for a multi-story camera drop. Meanwhile, each shot is carefully composed and lit, often with perfect symmetry, for shooting with 200-ASA Kodak 35mm film, which requires strong light. One advantage of shooting single-camera, says Yeoman, is that lighting can be perfected for each composition, something that generally must be compromised if two or three cameras are covering a scene.
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