![]() The shoot began with Favreau and his cast gathered in that same space – Beyoncé and Donald Glover, Seth Rogen and Billy Eichner, a returning James Earl Jones as Mufasa – acting out the entire film like a piece of theatre in the round. But just a few months earlier, things were different. To be clear, the goings-on in Warehouse 5419 feel anything but natural. But simultaneously, within a parallel digital realm, they’re surveying a film set that doesn’t actually exist. The two men are standing a few feet apart, wearing virtual reality headsets, in a large, matt-black warehouse numbered 5419, in the Playa Vista suburb of Los Angeles, in February 2018. In a sense, none of this is really happening. “Better,” Deschanel nods, and starts sizing up his shot through a viewfinder. The sky instantly bruises and dims, and the promontory’s shadow whips across the ground almost too fast to see, like a tablecloth pulled out from under the dishes. “Change it?” murmurs the 52-year-old Iron Man director, at which point Deschanel, 74, reaches up, grabs the sun in his fist, and drags it downward. Standing up there is the multi-Oscar-nominated cinematographer Caleb Deschanel, who eyes the scene, then calls down to Favreau that the light isn’t quite right, in a quieter voice than you’d expect. It’s a little after nine in the morning, though the sun is unusually high, beating down on a rocky promontory that juts across the grassland. Jon Favreau is standing in the African savannah, eating a bowl of Rice Krispies.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |