Once your order has been processed, you will receive an email confirmation to confirm your order has been dispatched and is on it’s way to you.Īll prints up to size A3 are packaged in rigid cardboard mailer envelopes which ensure their safe delivery. Orders are currently being processed and dispatched within 3-5 business days (excluding weekends and public holidays). If you'd like an alternative size not specified above, please get in contact with your preferred size and we will be happy to accommodate this for you. SizeĪ5 - Choose 7 x 5" (5 x 7") and leave a note at checkout (on the cart page in the 'note to seller box) to request size A5.ġ6 x 12" - Choose size 30 x 40 cm and leave a note at checkout to request 16" x 12".Ģ0 x 16" - Choose size 50 x 40cm and leave a note at checkout to request 20 x 16". There was more praise for his contribution to the Park City economy, but Soderbergh, ever the editor, was done.Įveryone laughed and Soderbergh made a quick exit, fading to black.Please see the below print size guide to help you choose the right print / poster size for your frames. So, it’s the Pixar thing, be failing as fast as you can.” You can go anywhere, but at a certain point you have to go somewhere. I have friends who I show things to early. The trick really is when you get into the editing room is not to get lost in what’s possible and stay focused, because it’s really a multiverse. “How you can change the intention of something just by reordering the shots or holding it longer or a certain way. “The power of it still amazes me,” says Soderbergh. The director mentioned how much he loves editing, going so far as to say the reward for having to be on set is that he gets to edit the footage. “He said, ‘One thing you should know about the family: they’re really fucked up.’ I said, ‘That sounds interesting,’ and he said, ‘No, they’re really fucked up.’ So that was my guidance: Point of view of the ghost, I’m in this house, the family’s really fucked up, and I go from there.” Koepp laughed when he recalled the two friends’ first meeting on the film. “I love when the story takes place in one place or you set up arbitrary rules for yourself that confine you.” (I guess we could call Koepp’s “Jurassic Park” work as taking place in a confined space). “He had the idea of ‘What if I deny everything, I’ve ever said about this and we do this only from the ghost’s point of view,’ said Koepp with a wry smile. (Koepp’s “Apartment Zero” and Soderbergh’s “Sex, Lies, and Videotape,” the original recipe Soderbergh project of playing with the cinematic form). They have known each other for decades going all the way back to 1989, when they both had films at Sundance. Soderbergh had David Koepp, an old friend, pen the screenplay. How would I feel about that? I felt there wasn’t another way to do it.” “I was just thinking about my reaction as a viewer to a choice like that. There’s no camera flip where you see that the shooter is freaking out as much as everyone else in the film. “The only way to do it is if you never turn around.” I’ve been beating this drum for like a long time. They want to see a reverse angle of the protagonist with an emotion on their face experiencing the thing. “I’ve been very vocal about the fact that VR, like one person, POV VR, doesn’t work, it is never gonna work as a narrative. “I had real questions about the choice that was at the center of this,” said Soderbergh with a wry smile. The film is completely shot inside the Payne’s home from skewed angles that Soderbergh captured while pursuing his actors in martial arts slippers, a camera with a 14 mm lens in his hands. Soderbergh is the cinematographer, so he is essentially the ghost. But this was a gathering of film nerds, and the buzz was all about how “Presence” was told from the ghost’s point-of-view, you’re watching the ghost watching everyone else. When the shot-in-three-weeks film hits the big screen or, perhaps more likely, the small screen, there will be much talk about where it ranks on the “holy fuck” scary scale. (The cast also features Chris Sullivan, Callina Liang, Eddy Maday and Julia Fox). “I’m not like that,” said Mulholland, running his hand nervously through his thick blond hair. Co-star West Mulholland grabbed the mic at the Library Theatre first to make clear that he was nothing like his James Spader in “Pretty In Pink” meets Ted Bundy character. “My body is having reactions as if I wasn’t in the movie.” Lucy Liu, who plays the family’s checked-out mother, looked genuinely shook as she stood with the film’s cast after the screening. “I’m just devastated,” said Liu.
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