Just going along with this, what I did, or what I do is I imagine not being myself seeing it, but imagine somebody else who's seeing it for the first time.
From Dennis Muren
Steven and I have worked together a lot and I'm far ahead of the curve than most people in knowing what he wants, but he knows far more than I know about what's important for the story. So, most of the changes he will make will involve story changes.
And I also trust that there's more than one way to do something.
Because you're telling a story, and I'm sure people fifty years ago would tell the same story differently if they were telling it to you today. Because the time is different. The film is the work of today's audience.
It's harder for me to work on a Forrest Gump kind of movie, where everything is invisible.
Yes, if I had it my way I would do all the shots myself - I used to do that when I was just a cameraman, an operator - but there's no way; you can't do that anymore.
What you want to do is, you want to get away from people being afraid to show their work, which is the first thing, because they don't want to be shot down.
I've done enough of this that I can tell early on if it's going in the wrong direction or not.
So much of it is the design of the shot or the motion of the character; it's the work you do so that it has the same things that are in the movie. In just a few frames it's got to communicate something clearly and dramatically.
I'm always reaching for something we really haven't done, and War of the Worlds has a lot of this sort of documentary look to it and first-person camera view that is a new thing for me. I've done some stuff like that before, but nothing like the extent of this and digitally.
3 perspectives
2 perspectives
1 perspectives