![]() In one of the rare quiet moments on set he told me he got his start doing live television. Instead of shooting the same scene numerous times from different camera perspectives, (and in the process draining every bit of life out of it) Ridley shoots his scenes in relatively few setups and few takes. The result is a dynamic scene with a live performance feel because it is in effect, a live performance. Oh, and by the way, did I mention the entire sequence was shot simultaneously?Įvery crew member, from sound and camera to props, wardrobe, lighting and grip, etc., had to be at the top of their game. I had to figure out how to record everything for every camera. If I remember correctly, 5 cameras were hidden en-route. There was dialog throughout, from the lobby, up the stairs, down the hall and at the drug dealer’s door. Ridley turned that into a scene where 2 teams of cops barge into the lobby of a building, subdue tenants and drug dealers in the lobby, race up 2 sets stairs for 6 flights (speaking quietly into walkies at key points) and then plan how to take out 2 guards at the drug dealers door. One example: In the script there was an 1/8th page scene where Russell Crowe and his fellow officers race up the stairs of a housing project. I assumed the Director of Photography had planned all the alternative shots in advance with his gaffer and key grip, but eventually I realized we were all in the same boat. At first I thought sound was the only dept that was out of the loop. Every department had to be on their toes. Ridley is always thinking and looking for opportunities, so if he sets up a shot with 3 cameras looking in one direction, just before we’re about to shoot he might set up a 4th (or 5th or more) looking in the opposite direction. And just in case, he’d often dress the camera operators in period wardrobe. He’d have set dressing find a piece of furniture or a car (or even a potted plant) to hide a camera and crew. Often cameras would be hidden in the shot. As much as possible he would use multiple cameras in a scene. Nothing (well… except for thousands of feet of unused film…) goes to waste. WS: Ridley is a master at capturing every bit of energy there is in a scene. How does this type of shoot effect the sound department, especially on a show that is set in such an aural jungle like NYC? I just wanted to thank Production Sound Mixer William Sarokin for taking time for this Q and A.ĭS: I read recently that Ridley Scott really shot from the hip on this one: fast moving, quick set ups, etc. Mix Magazine also has a great piece touching upon the editorial and mixing of the Film, HERE. Once again, has a great little photo essay on the tracking that took place at Sony, HERE. A protégé of Hanz Zimmer, this marks the second film Steitenfield composed for director Ridely Scottsince 2006’s “A Good Year”. ![]() Marc Streitenfeld handled the score on “Gangster”. The production sound pusher on “Gangster” was William Sarokin who can currently be seen ogling expensive footwear with the girls from “Sex in the City: The Movie”. Magorium’s Wonder Emporium” and have separately worked on films ranging from “Into the Wild” (Minkler) to the aforementioned “The Bourne Ultimatum” (Beemer). The pair is winding down a busy ’07 with “Mr. Mixing posted up at Todd-AO West in Santa Monica with re-recording mixers Bob Beemer and Mike Minkler. Coming off a strong summer with “The Bourne Ultimatum”, “Gangster” marks over the 40th collaboration between the two. All sound editorial trafficking was handled by co-supervising sound editors Per Hallberg and Karen M. “American Gangster” crossed 110th street into a theater near you November 2nd. This entry was posted in drama, Film School interview, Indie by admin. ![]() Premiered at the Dances with Films Film Festival in Los Angeles Director Moritz Rechenberg stops by for a conversation on his electrifying feature film debut.įor news and updates go to: /iamgangster or Newcomers Rick Mancia (EAST LOS HIGH), Gilberto Ortiz (LADY DYNAMITE) and impressive first timer Abraham Bobadilla lead the cast with explosive and touching performances that will leave audiences wanting to see more of them on screen in the future. First time feature director Rechenberg has assembled a spectacular cast of talented individuals who show us the hurt and love that these characters go through in dealing with street gangs and the challenges of daily survival. Inspired by real-life stories from the perspective of youth street gang members in Los Angeles and by Los Angeles filmmaker Charles Burnett’s KILLER OF SHEEP, I AM GANGSTER brings a realistic non-judgmental portrait of life on the street set in the contemporary City of Angels. Download MP3 Podcast | Open Player in New Window
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