Black Bag

[DandyAndy]

 

 

 

 

                Режиссер  Стивен Содерберг

Автор сценария  Дэвид Кепп      

Оператор                   

Композитор                       

             Продюсеры  Грегори Джейкобс

                             Кэйси Сильвер

 

Майкл Фассбендер • Кейт Бланшетт 

 

Реге-Жан Пейдж

Мариса Абела

Пирс Броснан

Наоми Харрис

Том Бёрк

Цитата

Действие шпионского триллера разворачивается в Великобритании

Цитата

Премьера (США) — 14 марта 2025

Изменено 20.08.2024 14:42 пользователем DandyAndy

[DandyAndy]

Права на проект приобрела Focus Features

[Andrewx]

Вау. Вот это парочка. Еще и Содерберг. Буду ждать.

[DandyAndy]

Присоединился Реге-Жан Пейдж

[DandyAndy]

Присоединилась Мариса Абела

[DandyAndy]

Присоединились Пирс Броснан, Наоми Харрис и Том Бёрк

[DandyAndy]

      

[DandyAndy]

Содерберг о фильме

Цитата

It’s about two people in the intelligence community. So it’s very intimate. When David Koepp and I were working on Presence, we were just thinking of general ideas. And I said it might be interesting to make Who’s Afraid of Virginia Woolf? but George and Martha are in the intelligence community. What would that be like? And he said, “Oh, that’s interesting.” And then months later, he’s like, “I have a draft of the script.” And it was great. So it’s a very, very specific take on people who are in the intelligence business but also have complex personal, emotional lives. It’s the kind of thing that I like a lot.

 

It was terrifying because there’s a 12-page dinner sequence, in which nobody even moves from their seat. And that kept me up. Because how do you do that? It’s a director’s nightmare. How do I keep this thing interesting for 12 minutes, and nobody’s moving? The good news is the scene as a piece of writing is spectacular. And what happens at the end of it, you don’t see coming. But the challenge of creating a visual scheme that evolves, as the scene is evolving, identifying where the gear shifts are, and making sure visually, where is the camera. The camera has been outside the table. Now, the camera is inside the table looking out, because of this thing that somebody said and the tenor of the room has shifted.

 

I had to keep coming up with [set-ups] and moves but keep it invisible. The audience just has to be locked into the characters. There’s this new app called – there was a discussion about how to pronounce this – C-A-D-R-A-G-E. It’s a sort of app in which you tell it, “I’m shooting on this camera. I’m using these lenses, and this is the shape of the frame.” And then you can see an exact replication of that. With your phone, you can either shoot video or take a still. So I brought in the cast and spent several hours. The first thing I did was think of every angle I can think of that is good, that feels appropriate for a film like this. So that turned out to be 82 separate compositions. I printed them all out, sat down with the scene and started building it. “Okay, for the first three pages, this is the plan. Next three pages, this, then we move to this.” Because there’s no universe in which I’m going to shoot 12 pages of 82 setups. That’s not fair to the actors. I should know where the cuts are coming.

[DandyAndy]

14 марта 2025