Go behind the scenes of ‘Elvis’ and ‘Tar,’ as their directors and cinematographers break down their most ambitious images:
When Alejandro G. Iñárritu first spoke to cinematographer Darius Khondji, he felt like he had found a long-lost brother: “We were connected, emotionally and visually.” That would be imperative for tacklingwhich unfolds through magnificent wide shots and long takes. “This is maybe the most precise and controlled film I have done in my whole life—more than“There was no room for improvisation.
Silverio’s return to Mexico City happens in an extraordinarily long take of a massive party thrown in his honor. The scene, says Iñárritu, is an homage to old Mexico City discotheques from the 1940s and ’50s: “All the people of Mexico got together, from the taxi drivers to the intellectuals to the politicians to the artists.” To replicate that energy, the scene required roughly 800 extras, including a live band playing oldies by Willie Colon and Héctor Lavoe.
To capture the sequence, Khondji mounted his camera on the ARRI Trinity, an enormous stabilizer that enabled camera operator Ari Robbins to capture various angles of the dance floor smoothly. “We called it the Monster,” Khondji says. “It’s very difficult, very cumbersome, and very big, but it allows the camera to be very high-angle and low-angle.” The resulting scene is dynamic and entrancing, a moment of pure release.“I don’t make movies that often,” says Baz Luhrmann. “But I do live them.
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