Plans for the scene began with Chazelle và choreographer Mandy Moore "walking it through, talking it out & diagramming it out. The dance và the camera work — it was sort of a chicken-and-egg problem; they had to lớn be formulated at the same time," he says.
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Without knowing which highway they"d be working on (or how many lanes it would have), Chazelle began mapping out camera angles with his director of photography, Linus Sandgren, as Moore worked with a skeleton crew of dancers, sending the director pieces inspired by the athletic choreography from Seven Brides for Seven Brothers, the opening of Jacques Demy"s The Young Girls of Rochefort and West Side Story.
Even "casting" the dozens of cars took time, says Chazelle, with the team trying lớn ascertain "what kind of cars could tư vấn khiêu vũ without caving in, how to lớn reinforce the cars, how to make them safe."
It was only then the production team moved outside with a partial cast, "doing what I call ‘full parking lot rehearsals," " says Chazelle, with a few cars and props standing in for the median. In the đoạn Clip, that"s "me running around with an iPhone basically doing the number," he says.
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That video "became sort of our bible" when La La Land shut down the actual highway ramp for the first time in Los Angeles, says Chazelle. Except the rehearsal was kind of a wreck.
"We were able khổng lồ secure the highway location for half a day a few weeks before shooting," the director recalls. "We all went in feeling pretty confident because we were quite happy with how the iPhone (video) had worked out. And the dress rehearsal was a total disaster.
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The crane could not move sầu the way an iPhone moves. … The choreography looked different, the slant of the freeway created a lot of other challenges. Everything was just tricky. We had to go back & regroup & make some adjustments."
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Several weeks later, in August năm ngoái, it was go time for Another Day of Sun, with Emma Stone and Ryan Gosling sitting in their respective sầu cars on a ramp connecting L.A."s 105 and 110 freeways, waiting for stubborn clouds lớn move.
"We went baông chồng to the location, a little chastened, a little humbled and a little nervous," says Chazelle. "And then we shot the real thing, which you see in the movie."
Chuyên mục: Tin Tức Liên Quan