How to Shoot the Start of a Relationship’s End in ‘Marriage Story’ | Anatomy of a Scene How to Shoot the Start of a Relationship’s End in ‘Marriage Story’ | Anatomy of a SceneHi, I’m Noah baumbach and I’m the director of marriage story about Charlie Charlie is undaunted. This is the second part of the two opening montages that begin. The movie the 1st is Charlie. Talking about Nicole. Then here is Nicole sing. What I love about, Charlie Charlie, like he’s, trying to get it over with and be enough food for everyone. A sandwich, is to be strangled while devoured. So I thought it was a adjusting way to establish these characters, but also create a kind of Rhythm for the movie that what book continue throughout the movie, but it’s also going to alter and change once we find out that this couple is getting divorced. I also thought of this section A little bit, but like an overture in a musical it’s it’s almost like we’re establishing all the themes of the movie before the movie begins in a sense ready to score with this chamber that establishes the musical themes for the movie To we’re going to revisit these things later on in the movie, and it’s sometimes difficult to shoot, because they’re so small, like big scene in the movie, you know you’re trying to starting at the beginning, you’re going till the end. When you do these little moments. Your kind of capturing people in the middle and so the offense of the Monopoly sequence we’re kind of setting up a Monopoly game, even though they know the moment, that’s going to be in the movie, but you’re kind of trying to capture something spontaneous and ordinary. You know you’re living to use seconds of it. The early teasers for “Marriage Story” were released as two separate vignettes, with each of the lead characters, Charlie and Nicole (Adam Driver and Scarlett Johansson), discussing what they love about the other.
Those montages play in a more extended form at the beginning of Noah Baumbach’s film (now in theaters and streaming on Netflix), creating a way to quickly establish the characters while drawing viewers more intimately into their relationship, just before showing that it’s about to end.
Narrating the scene, Baumbach discusses the challenges of shooting so many small moments in a relationship and making them feel lived-in. He discusses how the film’s score, by Randy Newman, aids in that goal, and how he shot a lot of footage to capture just the right amount of emotion.
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