Name: マレフィセント。悪の女王」監督がディナーシーンを破壊する｜Vanity Fair (Maleficent: Mistress of Evil Director Breaks Down the Dinner Scene | Vanity Fair)
Uploaded: 2021-01-14T08:59:18.000Z
Duration: 13 min 31 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

I'm the director of Maleficent, Mistress Evil.

And today I'm here to do one scene breakdown off the dinners.

I remember the story of a baby, a baby cursed to sleep and never wake up.

Who would do such a terrible thing to an innocent child?

There are fair is missing from the moors.

So this is a seven character dialogue marathon with all of them sitting.

These days were also some of my favorite days.

Because not only do I have Michelle Pfeiffer, I have Angelina Jolie have l founding have everybody there.

And usually when you do dialogue scenes like this, you tend to try and get the characters and the actors to move a little bit around.

And that's what makes a sitdown scene a little bit trickier.

Usually, when you do you know any dialogue scene, you have the two characters here and then you try and stay on one axis with the camera so that you get the feeling off them looking at each other.

It's like shooting a football match you know you want.

You don't want them to score in all in the same goal.

When you add 1/3 character, you start to suddenly be very free on where to put the camera.

But at the same time, the audience needs to know what the character on camera is looking at.

So then you can add another four to this, and then you get our dinner.

There's a very good scene I feel in the movie called Casino Royale, where Daniel Craig and Mads Mikkelsen are playing poker, and they're also, like 78 people raise.

There's also all the other scenes from other movies that, you know, I sat down with and studied because they are very tricky on dhe technical, even though they might not seem like that at all.

Usually when I was shooting this scene with three cameras since the light sources in the middle of the table it allowed to do the DP and BAM to actually shoot in several directions at the same time.

So we were allowed to actually rig three or four cameras just in the middle of the table underneath their eye line so they could be looking over the camera talking to each other.

I could shoot basically a 360 you know, the whole crew just hit outside of the of the set.

As a filmmaker, you will also visually try to make it interesting.

You want underline certain moments in the story.

The scene is a very important scene in the film because it is the scene where we for the first time, see that Queen Ingrid has a hidden agenda.

You have done an admirable job going against your own nature to raise this child.

But now she will finally get the love of a real mother.

Everything that cleaning with says it's part of her plan.

She's pretending to be a little bit naive in order to lure Millicent out on thin ice.

She wants her to show her evil side at this moment in the sea, and Melissa isn't realizes that this is not necessarily just a pleasant you know, meet the parents dinner.

The very, very top of my list for playing.

She's a one of very few that can go a head to head with Maleficent.

If I didn't know better, I'd say we're making a threat.

What I remember this was one of the first scenes that I was shot with her.

Of course, I've seen drawings of her costume and the, you know, the jewelry and a lot.

But there's something very, very special when she walks out on the set as cleaning with in full costume on in character blocking boys framing wise, I'm pushing in with a camera on the one, which is a very common technique in order to create the focus in the senior and for focusing in on quitting with putting her plan into life.

I want the audience to focus in on what you're saying and I want.

The old is the focus in normal isn't listening to cleaning with.

I don't want anything else to really be of importance in this scene, so I put them in the middle of the Schultz However, this character is a big part off winning wreaths plan Poor Jen Murray, who plays Garden in the back there.

We shot this scene over a week and she doesn't have any lines.

So for a week she was standing back there like that.

But she's in the scene That is very important for me.

If I liked having her out of folks like just as a reminder, you know that she's there.

There's a lot of special effects in this movie, and Angelina's wings are probably the most important for her because it's part of her acting's part of Angelina's acting and it's it's it's important that it's subtle.

Actually, when she was acting to trigger the wings, if there's a little bit of movement in the library, we would have like a thing going up, and that's really worked.

It's always like some of the most tricky is things that this is all CG and you know you work on getting as photorealistic as possible.

There's a shine in the little, you know, in the little feathers.

And it needs to be the same black of her dress and but the little bit shiny er and then the focus of the wings need to be a little bit off compared to her eyes, you know, So that needs to match.

And they're each feather, you know, each feather is moving individually, actually, and you know, this takes a year to make on these wings are just tremendous, I feel, of course, when we're shooting this, there's no wings there.

So you have all the servants in the scene trying to serve her food on drinks and stuff like that.

So they also, you know, they can't be walking straight to the wings, so they have to pretend to go around the wings and do their thing.

Also, What I do like with her wings, is that they're kind of mirror in cleaning Rhys throne the talons here.

And so instead of, you know, instead of wings, she has her wings as well, you know.

So it becomes the two Thrones that these queens are sitting home.

We spent hours discussing the color lips because I felt a little bit in the first film that they were too colorful on eso.

We were going a little bit back and forth, and I think we landed on a slightly cooler red.

So those are the things that you know needs to be discussed.

And it's very important because it's such a big and important feature.

You basically get a television, I think, basically, just see the middle of your sight.

It's a mix between prosthetics and CG, so these are all in camera.

And then the kind of pale hue that Millicent almost radiates that's applied in the in post election to give her that otherworldly.

You know, I feel there are many who prey on the innocent.

I'm sure your kind would agree what you mean my kind.

So here, you see, we're shooting the other characters in this scene.

So we're kind of covering the the king here, a picture of the characters that I really want the audience to focus on in the forefront off the shots and then framing the king a slightly further back amongst them Where?

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マレフィセント。悪の女王」監督がディナーシーンを破壊する｜Vanity Fair (Maleficent: Mistress of Evil Director Breaks Down the Dinner Scene | Vanity Fair)

subtle

instinct

pretend

slightly