Long takes are hard. Mix that with the ambitious mind of Wes Anderson, and you have yourself one tough obstacle.
You know a Wes Anderson film when you see it. His animation-influenced aesthetic is undeniably unique, bringing precise and zippy camera moves that he was able to master on his miniature sets on his stop-motion productions to his live-action films. The blend of animated camera movement to live-action is becoming increasingly popular, but boy, replicating a practical camera movement in real life can be quite the challenge.
In Anderson’s newest film, The French Dispatch, an anthology of short films about a Sunday supplement to a nonexistent Kansas newspaper, Anderson’s love of complicated camera movements is on full display. The final sequence features a near impossible 70-second tracking shot that the film’s key grip, Sanjay Sami, describes as “the most complicated shot I’ve ever worked on in my life.”
Author: Alyssa Miller
This article comes from No Film School and can be read on the original site.
