CineMontage

Winter 2015

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41 WINTER 2015 / CINEMONTAGE PT: For The Invitation, Karyn talked about Klute and The Parallax View with regard to shooting and sound design style, The Conformist and Red Desert for an approach to color and design, Safe for a tonal approach, Throne of Blood for an approach to score, High and Low for and approach to blocking in a confined space, The Celebration for a depiction of a dinner party gone haywire, and Let the Right One In and Rosemary's Baby for an approach to violence — mostly unseen. These were the films that were floating in and out of her consciousness as she prepared for The Invitation, so they became a jumping off point for me in the editing process. CM: What was it like working on The Invitation and The Slap back-to-back? PT: It was interesting; they had similar challenges to be addressed. They are both about lots of people at a gathering, with overlapping narratives, but were told in two completely different shooting styles. Karyn's route was more Kurosawa — formal frames — and Lisa's was more Altman — multiple moving cameras. In both cases, post-production sound played a huge role in keeping the audience engaged in the story, hearing people in other rooms, and the comings and goings. Both projects had shorter schedules and less prep than either director would have liked. And both used multiple cameras to maximize what they could get on a limited schedule. CM: What about the differences? PT: Due to the shooting style on The Invitation, it was much easier to see, upon viewing dailies, where "Once the footage comes to me, it's just a process of getting to the heart of the character. What I try to do on any film is talk to the directors about anything that might be a creative reference for them."

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