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  • Hi, I'm Reed Morano, and I'm the director

  • of "The Rhythm Section."

  • In this sequence, our main character,

  • Stephanie Patrick who's played by Blake Lively,

  • is out on her first job.

  • And it sort of goes completely awry.

  • And she ends up inadvertently in a car chase

  • she didn't plan for.

  • The reason why I wanted to do the movie

  • overall is the same reason why I

  • wanted to shoot the car chase this way.

  • And that was because it's sort of like a POV driven story.

  • The scariest place for me after watching

  • dozens and dozens of cinema's best car chases

  • was from within the car.

  • And any time I've watched one and we cut out of the car,

  • I feel like the tension dropped for me.

  • Something about being in the car

  • and having this limited visibility

  • and having the camera bring us to what

  • we need to see at the front or the back or at the character

  • makes you kind of feel like you're in the seat

  • next to her, which is the last place I

  • think anyone in the audience would want to be.

  • Because she's not a superhero.

  • She's not an action hero.

  • She's not a real assassin.

  • She's just this regular woman.

  • In order to see the necessary things, in order

  • to make the audience feel what she's feeling,

  • we were going to have to coordinate really

  • particularly between what Blake was doing

  • in the car as Stephanie and what was happening

  • outside in the front versus what

  • was happening in the back or the side of the car.

  • And Sean Bobbitt, my DP, was super excited about this as

  • well.

  • So what happened was was we had this old Merc,

  • this old Mercedes.

  • And this was the tiniest car ever.

  • And Sean Bobbitt is a really big guy.

  • But they took out all the seats on the passenger side

  • and built like a slider, like a rail system,

  • with a little seat that he would sit on.

  • But he could slide back and forth.

  • But he was also secured in other ways.

  • But he had mobility to kind of be up front by the window.

  • He could pan towards Stephanie.

  • And he could also pan towards the back window.

  • But he could also slide really far back when he

  • needed to get another view.

  • Part of the reason why the chase is so successful

  • is not only because of all the coordinated efforts

  • of all the stunt people were happening at the right time.

  • It was also Blake carries the scene,

  • and her energy is changing, you

  • know, up and down and throughout like

  • an emotional roller coaster.

  • And she's really making it fun and scary

  • to be in a car with her.

Hi, I'm Reed Morano, and I'm the director

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ブレイク・ライブリーとカーチェイスする「リズムセクション」のシーン|シーンの解剖学 (Ride With Blake Lively in a Car Chase Scene From ‘The Rhythm Section’ | Anatomy of a Scene)

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    林宜悉 に公開 2021 年 01 月 14 日
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