A Quote by Rachel Morrison
Half of 'Mudbound' were shots I stole in between other scenes.
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'Mudbound,' you know, is about home. 'Mudbound' is about what it means to be a citizen, and 'Mudbound,' in fact, is set in this post-reconstruction era that we haven't really explored. You know, not since 'Sounder' have we even really explored that experience.
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
I love just seeing shots of New York inside of a fictional movie that are not controlled. I do not like shots with extras, I have to say. I don't mind extras in other scenes, but I love New York City streets just as they look. I don't even care if someone looks at the camera. It doesn't bother me.
I think 'Mudbound' reveals the interconnectiveness of our stories. You can't separate out threads of history and race as economic construct. 'Mudbound' makes it very plain. Race is about commerce; it's not an actual thing. It's a fiction that was created to basically divide resources unequally.
'Twin Peaks' was incredibly slow, methodic, taking shots that were uncomfortably long, with a lot of scenes where there was barely any dialogue. 'Riverdale' has a much faster pace.
Half the people in Lucky Harbor were in love with him. The other half were men and didn't count. -Tara on Ford
In my experience of doing physical scenes, half of your energy is spent on trying to get the other actor to enter into it physically with you. Most actors don't want to hurt each other.
Nothing can preserve the integrity of contact between individuals, except a discretionary authority in the state to revise what has become intolerable. The powers of uninterrupted usury are too great. If the accretions of vested interests were to grow without mitigation for many generations, half the population would be no better than slaves to the other half.
I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.
Obviously, we were fortunate to win the hockey game, and we'll take it, because there have been some games that we haven't been fortunate enough in. I don't think we played exceptionally well from any standpoint, other than our first period. And our goaltender really stole the game for us. In all reality, you have to give him credit for the win. He stole the points.
'Mudbound' highlights the fact that we're still battling a lot of the same issues as we were all of those decades ago.
Early on, many years ago when we started 'Avatar,' the executive that we were working with said to make the sad scenes sadder, the funny scenes funnier, the scary scenes scarier. That was kind of permission to do what we felt comfortable with.
I had invited 50 or 60 peers and friends, most of whom were parents, to see the film [Trust], and I asked about the last scene. It was interesting because it was split right down the middle, 50/50. About half the audience wanted it to end with the very emotional scene between Clive and Liana, and that feeling of realization and catharsis. And, the other half were adamant about keeping that last scene.
The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
For me, certain shots or scenes are keys in the movie.
The ratio between supervisory and producing personnel is always highest where the intellectuals are in power. In a Communist country it takes half the population to supervise the other half.
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