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#1 linda difranco

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Posted 16 October 2010 - 04:29 PM

does anybody know if Allen uses practical locations or soundstages for his interiors?

also, he usually shoots long walks -- does he use lightings and bouncers? he's very wide most of the time, so i was wondering...

Edited by linda difranco, 16 October 2010 - 04:30 PM.

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#2 Hal Smith

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Posted 16 October 2010 - 10:27 PM

does anybody know if Allen uses practical locations or soundstages for his interiors?

also, he usually shoots long walks -- does he use lightings and bouncers? he's very wide most of the time, so i was wondering...


I hope this helps:

A recent quote of Vilmos Zigmond talking about shooting Woody's latest movie "You Will Meet a Tall Dark Stranger" is "Principal photography took place over six weeks entirely at practical locations in London.(Woody) doesn't like to work on stages," said Zsigmond. "He films in places that look lived-in and can be used almost without being touched. His movies don't take long to shoot because he doesn't have a big budget. We don't have the money to be fancy."

Read more:
http://www.variety.c...=1&query=vilmos

I've talked at length with Doug Hart (1st AC on the movie) about the circular track scene in "Hannah and Her Sisters" where the three sisters are having lunch together. It was shot in a practical restaurant. I'm pretty certain the parent's apartment in "Hannah" was a practical New York City apartment, I'm not sure why I know that.
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#3 linda difranco

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Posted 17 October 2010 - 10:19 AM

Thank you Hal for the link.

how do you think he handles the long walks? lighting wise?

as a DP, how would you?
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#4 Hal Smith

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Posted 17 October 2010 - 10:25 AM

Thank you Hal for the link.

how do you think he handles the long walks? lighting wise?

as a DP, how would you?


I'd guess the long walks are done with dollys on tracks or expert Steadicam operators. For lighting I'd think about leading the actors with a grip holding a Chinese lantern on a pole and diffuse fill on the camera dolly.

What I know about Woody's films is that he is a consummate film-maker who thinks through and plans everything in advance and that he uses a classical approach to the technical side of film-making. His Cinematographers and crews are always the best of the best and, much like his cast members, crew will pass up better money to work on one of Woody's films.
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#5 Mitch Gross

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Posted 17 October 2010 - 05:37 PM

The parents' apartment in Hannah and Her Sister's was in fact Mia Farrow's own home.

Different DPs over the span of Woody Allen's career have used different methods for shooting and lighting his exterior walking scenes. Gordon Willis would usually use a Western Dolly (large flat platform on golf cart tires) and a tripod head on a mount that shifted with the uneven ground. Lighting was usually a large light mounted on the dolly for fill (dimmed up and down appropriately) and a second hard light on a rolling stand with a flag floated in front and away as Willis saw fit. If you study the night exteriors of "Manhattan" you'll se that there are huge swaths of darkness, which was pretty ballsy.

For daytime, Allen only likes to shoot in overcast light, and often in late afternoon when the contrast is even lower. He often schedules his shoots for the fall to get fall foliage in the scenery.
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