James Mangold

The simplicity in the shooting style, I shot it in a way, I felt like Bob is such, my whole cast and the world is so eccentric in the film in a way, so rich, and their world is so rich in style. their uniforms.

The simplicity in the shooting style, I shot it in a way, I felt like Bob is such, my whole cast and the world is so eccentric in the film in a way, so rich, and their world is so rich in style. their uniforms.

The simplicity in the shooting style, I shot it in a way, I felt like Bob is such, my whole cast and the world is so eccentric in the film in a way, so rich, and their world is so rich in style. their uniforms.

That's the beauty of it. Totally.

That's the beauty of it. Totally.

That's the beauty of it. Totally.

And it's like this was the last cool time. Dylan had a great observation about that, which he said to me, you know, the 60s, there really was no 60s. He said the 60 to 65 was an extension of the 50s. And 66 on was really the 70s.

And it's like this was the last cool time. Dylan had a great observation about that, which he said to me, you know, the 60s, there really was no 60s. He said the 60 to 65 was an extension of the 50s. And 66 on was really the 70s.

And it's like this was the last cool time. Dylan had a great observation about that, which he said to me, you know, the 60s, there really was no 60s. He said the 60 to 65 was an extension of the 50s. And 66 on was really the 70s.

And musically and artistically, what was happening, the beats, it was all 50s and in music, and then it all went upside down. But the temptation... Like a lot of my collaborators on the movie when they came on, it's like, are we going to do this super grainy and kind of handheld like a Maisels film? And I was like, no, no, no, no, no, no, no, no. And I was like, I feel like putting too much...

And musically and artistically, what was happening, the beats, it was all 50s and in music, and then it all went upside down. But the temptation... Like a lot of my collaborators on the movie when they came on, it's like, are we going to do this super grainy and kind of handheld like a Maisels film? And I was like, no, no, no, no, no, no, no, no. And I was like, I feel like putting too much...

And musically and artistically, what was happening, the beats, it was all 50s and in music, and then it all went upside down. But the temptation... Like a lot of my collaborators on the movie when they came on, it's like, are we going to do this super grainy and kind of handheld like a Maisels film? And I was like, no, no, no, no, no, no, no, no. And I was like, I feel like putting too much...

directorial overt style an a movie about characters who were so style-positioned already would be like a hat on a hat on a hat. And that in a way I wanted to observe. und zu sehen und zu fokussieren. Ich habe versucht, einen anderen echten Icon für mich und eine Art Touchstone für mich zu sein, wie Elia Kazan. Ich habe die Wasserfront erwähnt, aber auch East of Eden. Es ist ein toller Film.

directorial overt style an a movie about characters who were so style-positioned already would be like a hat on a hat on a hat. And that in a way I wanted to observe. und zu sehen und zu fokussieren. Ich habe versucht, einen anderen echten Icon für mich und eine Art Touchstone für mich zu sein, wie Elia Kazan. Ich habe die Wasserfront erwähnt, aber auch East of Eden. Es ist ein toller Film.

directorial overt style an a movie about characters who were so style-positioned already would be like a hat on a hat on a hat. And that in a way I wanted to observe. und zu sehen und zu fokussieren. Ich habe versucht, einen anderen echten Icon für mich und eine Art Touchstone für mich zu sein, wie Elia Kazan. Ich habe die Wasserfront erwähnt, aber auch East of Eden. Es ist ein toller Film.

So that Technicolor, whatever that was. And widescreen. Yeah. And the way, I love the way close-ups, you have these kind of asymmetrical close-ups where you have this really obviously wide screen. So a face, you don't want to plop it in the center with kind of these two big wings coming off.

So that Technicolor, whatever that was. And widescreen. Yeah. And the way, I love the way close-ups, you have these kind of asymmetrical close-ups where you have this really obviously wide screen. So a face, you don't want to plop it in the center with kind of these two big wings coming off.

So that Technicolor, whatever that was. And widescreen. Yeah. And the way, I love the way close-ups, you have these kind of asymmetrical close-ups where you have this really obviously wide screen. So a face, you don't want to plop it in the center with kind of these two big wings coming off.

So it's kind of the close-ups get asymmetrical or you end up with these incredibly beautiful two faces within the rectangle. Anyway, blah, blah, blah. But it was really interesting to me to try to just land in the world, I thought it was perfect, that color. And I have to assume though...

So it's kind of the close-ups get asymmetrical or you end up with these incredibly beautiful two faces within the rectangle. Anyway, blah, blah, blah. But it was really interesting to me to try to just land in the world, I thought it was perfect, that color. And I have to assume though...