Issue link: https://digital.copcomm.com/i/1532181
that's weaving through the tapestry here. Everyone is bouncing off of him. He doesn't let anybody in emotionally except, briefly, Rosie. We needed to see private moments with him. Some of those were written into the script; some of them were stuff that we just pulled in during editorial and used music to enhance. The thing I love about Jason's approach is a little goes a long way. There were close- ups of the moment when we learn about the backstory of Lorne and Rosie's marriage. But it was actually more intimate with the camera further away and you're peering through the posts under the bleachers. It makes you lean in and want to hear what she's saying. It's more organic, and it's definitely more Altmanesque. CineMontage: Shane, you were responsible for crafting the few scenes that take us out of real time and allow us to vicariously experience Lorne's internal panic. Reid: Those are big swings. Those were mostly built by me being very anxious because I was having to double-up my time. I would be leaving Disney and starting at Sony at 8 p.m., and working until 3 in the morning. The film had come together really well. We always knew it would because the script was so fantastic, and the char- acter arcs were kind of built into it. I had a lot to prove to continue to move the film forward with interesting ideas instead of just being someone else who was tidying things up or making some changes here or there, so I tried to look at the film in some very oblique ways. CineMontage: There's that moment when Lorne is observing bricks being laid on the set and, amid the brick-laying, has a kind of nightmarish panic attack. Orloff: Shane had this wonderful idea: "OK, here's a scene that works, but what if I cut a bunch of flashes to bricks and clocks and giant loud music and freaked everybody out?" It took me a second to get on board, and now I can't imagine the movie without it. It's essential. Reid: That became a way inside a man who is difficult to get inside of. I said to myself, "This is like a giant jazz piece, and I think we can do things that feel different." In some ways, the anxiety that I was feeling, trying to execute those at 2 in the morning, was similar to what Lorne was feeling in those moments, too. I would look at Lorne in the brick-laying scene and think, "I want to feel as uncomfortable with him as I feel in this moment right now where I'm taking a risk and I should be laughed at." CineMontage: Lee, can you talk about the sound design in the movie? Lee Gilmore: Jason wanted things to sound authentic, lively, and energetic. One of the first things he told us was that of all the movies he's done, this one was the most important in terms of sound, that sound was going to be such a huge player. So no pressure at all when we had our first spotting session! But he gave examples. He didn't want to use any type of background beds. He didn't want any kind of steady sounds that might make things murky. We were hyper-surgical in where we placed spotted backgrounds as we bobbed and weaved around the dialogue. As soon as you walk into the lobby, you are holding on for dear life, which I love. It has a very kind of old-school, almost Altmanesque feel at times with everybody talking over each other. I don't know if I've ever worked on anything with that much energy popping off the screen. CineMontage: As I understand it, instead of loop group, the loop group was extensively supplemented with principal actors, since all of the actors on set wore lavalier mics. David Butler: In building the set, they actually copied the eighth and ninth floors of 30 Rockefeller Plaza, so there's no edge of frame. Everyone could just be somewhere and could be acting. [Production sound mix- er] Steve Morrow put a mic on everybody, and he also put Ambisonic Dolby mics in the Tom Ozanich. David Butler. Chris Newlin. 22 C I N E M O N T A G E F E A T U R E