- And action.
(uplifting music)
Even now I can sort of
feel the difference between
large format, again, and Super 35.
I can already sense the depth
and I can already sense my perspective
shifting to our foreground in a way that
I sort of find powerful for me.
We will perform a scene a number of times
and each time we'll
try to find a new shot,
a new perspective, a new
way of seeing the scene,
and how that relates to large format.
It's something that Barry and I talk about
when doing Beale Street and Moonlight.
With the idea and hopefully
you'll get across with
this sort of pushing
as my friend gets up to go to the bar
and we're going to push
in on this young lady.
How shallow the depth of field is
while still seeing him
physically at the other end
we're still gonna, we're gonna rack focus
and keep our focus on
our foreground character.
When I'm working with Barry
something we talk about a lot
is this idea of immersiveness,
that discussion is about
bringing the audience
in close proximity,
and close emotional
connectivity to our subjects,
this is actually a wonderful tool
that allows me to tell stories
the way that I find powerful.
(dings)
