| dbp:quote
|
- 2.0 (dbd:second)
- ... The producers approached me and asked me to consider it. Nancy Buirski, who made the documentary The Loving Story ..., Colin Firth, and Ged Doherty, they reached out and asked if I would watch the documentary. And it didn't take long. Pretty much from the moment it ended I had my approach which was to concentrate on the day-to-day lives of the Lovings. I gave them a call and said "Look, this is my interpretation of it—this was kind of on the heels of The Help coming out back in 2011, and it made a boatload of money—and I said, "I'm gonna make a really slow, really quiet film and I don't know if it's gonna be the feel-good experience of the year. And there's potential for someone to make a film like that out of this story so if you guys really want that then I'm not the right guy for you. But if you're willing to go this other way then let's keep talking." That's kind of the way it developed. (en)
- I drove to North Carolina and pretty much pulled everything out of his garage and put it in our set. To me that was kind of a throw out to my dad. That was a special set for me to do ... [On shooting in areas where the Lovings had lived] Almost every day when I was driving by to prep a set, I literally was passing their graves. It was like they were there, making the film with us. (en)
- We used wardrobe in those moments to give Mildred strength or to show her excitement. The scene when [Mildred and Richard] first meet the [civil rights] lawyers, I think she knew that she was starting to become a representative and voice for others and we were careful to show that she cared how she was portraying herself. (en)
- ... We used an offset jib arm with a remote head, so that you could get these very precise moves.As soon as you set up a dolly, you're changing the orchestration of the shot. Your actors have a movement that you don't want to affect or impact. Then you've got a dolly grip moving a thing. You've got another dolly grip who's on the boom arm, making it go up and down and side to side. Then you've got your [assistant camera] who's off on these focus wheels, that are off of the dolly. (en)
|
| dbp:source
|
- —Erin Benach, on the practice of conveying Mildred's strength and emotion through her wardrobe in Loving. (en)
- —Jeff Nichols, on the inculcation of Roger Deakins' cinematographic approach in No Country for Old Men , for Loving. (en)
- —Adam Stone, on filming Loving with Panavision Millennium XL2 cameras and G-Series anamorphic lenses. (en)
- —Jeff Nichols, on the development and approach of Loving (en)
- —Chad Keith, on his late auto mechanic father, and the magical feeling felt when making Loving. (en)
|
