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‘Past Lives’ | Anatomy of a Scene

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“Hi, my name is Celine Song, and I’m the author and director of ‘Past Lives.’” [MUSIC PLAYING] “So the scene is between Hae Sung, who’s played by Teo Yoo, and Nora, who’s played by Greta Lee, and it’s about these two characters who haven’t seen one another in person in 24 years. They usually’re type of reuniting in Latest York. And the main target of the scene is in regards to the way that Hae Sung looks so lost and alone and really small in Latest York City, in the town that’s foreign to him. It’s a city that he’s here as a tourist. And the thing that we’re, after all, attempting to capture here, is a sort of sense of tension and excitement. It’s some sort of a mixture of each of waiting in your old friend that you simply haven’t seen in a protracted time. And he doesn’t know what to anticipate. And we wanted him to seem like a child within the scene. , him as he’s touching his hair to repair it, because he just wants to go away impression. And we’re really talking about capturing this moment where Nora goes to shout his name and he’s going to show. And this whole shot was arrange for this turn.” [CAR HORNS] “Hae Sung!” “After which we get to truly experience his type of stunnedness or awe as he’s seeing Nora. And the best way that I type of wrote this within the script, is that it’s as if he’s seeing a ghost, and he or she’s also seeing a ghost. They’re type of seeing a ghost in one another. And never only is that this ghost, an actual one who’s physical, she’s also walking towards him. And it’s meant to be slightly bit terrifying.” [FOOTSTEPS] – [NON-ENGLISH SPEECH] “So that is the moment up to now for them where they were childhood sweethearts. And I believe for that moment, that viscerally, you’re type of transported back in time. And Nora here is type of breaking the barrier between them and crossing over. And the sound design for this can be about Latest York crashing down on them as she reaches over to hug him.” [TRAFFIC] [CAR HORNS] “There’s little or no dialogue within the scene. So, a lot of it needed to occur through the best way that they’re living with this moment and attempting to navigate how they feel. And this particular shot is something that me and my DP, Shabier Kirchner, were type of pulling from a Kore-eda trick, which is what we call the swinging camera. Where here, we’re with Hae Sung, and we’re so glad to see him and we’re excited to experience this through him, but we miss Nora. So, the camera moves in order that we are able to see Nora.” – [NON-ENGLISH SPEECH] [MUSIC PLAYING] “And now we’re so glad to see Nora and we’re just glad to experience this moment along with her. And, but we’re glad to be here, but we also begin to miss Hae Sung, so there’s slightly little bit of longing that gets built. After which we move over and we see Hae Sung again. And we’re so glad to see Hae Sung. And I believe that feeling is absolutely the thing that we were after for what we wanted this to be. Because now we’re going to miss Hae Sung again, and we’re so glad to see Nora. And that is the sort of emotional state that we wish to place the audience, of longing and likewise glad to see someone, which is type of what the center of the scene is. And after all, they’re so glad, and we type of walk them out of the scene.” – [NON-ENGLISH SPEECH] – [NON-ENGLISH SPEECH] – [NON-ENGLISH SPEECH] – [NON-ENGLISH SPEECH] [LAUGHS]

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