When you're directing someone and are doing a bunch of angles, and the actors just aren't doing it the way you want in the wide takes, but then you figure out later, when you're in close-ups, the direction to give them to have them do it the way you want, and that new performance is quite different from the earlier performance, are you screwed? Because when you cut it later, you're not going to be able to cut from the wide to the close since those performances are so different.
This question comes about because I'm watching Stealth (yes, insert joke here) and Rob Cohen is shooting this one dialogue scene from like 50 different angles, and this actor's performance is just spot on matching from every single angle, and I'm thinking "that **** has got to be hard."
i guess what i'm asking is, once your'e on the set, do seasoned directors use the wide take as their template, and not stray from it from then on, so that all the perfromances match? Or, if they figure something new out halfway through the coverage, do they change it anyway, hoping to figure it out in editing? Or do they go back and do the wide takes again, with the new performance?
This question comes about because I'm watching Stealth (yes, insert joke here) and Rob Cohen is shooting this one dialogue scene from like 50 different angles, and this actor's performance is just spot on matching from every single angle, and I'm thinking "that **** has got to be hard."
i guess what i'm asking is, once your'e on the set, do seasoned directors use the wide take as their template, and not stray from it from then on, so that all the perfromances match? Or, if they figure something new out halfway through the coverage, do they change it anyway, hoping to figure it out in editing? Or do they go back and do the wide takes again, with the new performance?
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