A "horse box," Hitler and an on-set editor were featured subjects at the Directors Guild theater Saturday morning.
The five DGA Award nominated feature film directors held forth Saturday morning on aspects of their craft in advance of the evening’s gala ceremony that will tap one of the five with the union’s highest honor. This year’s nominees shared subject matter — their films this year focused on violence and conflict, as befits our troubled times, and they didn’t score high on diversity, with all of the nominees male and the four U.S. based directors white.
But what Bong Joon Ho (Parasite), Sam Mendes (1917), Martin Scorsese (The Irishman), Quentin Tarantino (Once Upon a Time In Hollywood) and Taika Waititi (Jojo Rabbit) also shared was an intense passion for directing and a deep knowledge of craft that came through to the full house at the Directors Guild theatre in Los Angeles.
"There is no end to the language of the camera," declared Mendes, whose creation of a film without apparent cuts results in a propulsive journey through trenches and a blasted hell of no man’s lands, bombed out farmhouses and burning villages. He disclosed that he, dp Roger Deakins and four actors spent six months pacing out the fields to determine the pattern of the trenches and structures before a single trench was dug or set built. And during filming, Mendes was carted about in an animal trailer as the action ranged across the built environment.
"I was in a horse box," he said. "It was a video village on wheels."
In contrast, Waititi’s viewport to the Second World War that came thirty years later was a somewhat more peaceful domestic drama featuring the breakup (spoiler alert) of a young boy and his imaginary best friend, Adolf Hitler — played by Waititi.
"It was very strange to be dressed up like that while directing," he noted.
In contrast to the others, Tarantino eschewed monitors in the making of his Hollywood / Manson family period piece. "There was no video village," he said. But there was "a chair town" where actors and crew could grab a seat.
Ho, speaking through an interpreter, revealed that he not only used monitors while shooting his class warfare drama, but that the production had an on-set editor who was constantly cutting while he was shooting.
"I think it’s because Koreans are impatient," he added.
That arrangement wouldn’t have sat well with Scorsese, who appeared at the panel remotely, in the form of a monitor parked next to Ho’s interpreter.
"I don’t like too many people in the video village," he said, in order to maintain the privacy of his artistic process while his Mafia movie was taking shape. He added that his thoughts would run to, "'These people are looking at my film. Who are they?'"
Indeed, anxiety was a theme for several of the nominees. In shooting big set pieces, Tarantino said he was "nervous I’ll find the limit of my talent," while for Waititi, the very concept of his movie led to fear that "this film, in particular, could be a career ender."
Said Mendes in response, "I thought my movie was a high-wire act, but at least I wasn’t dressed as fuckin’ Hitler."
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January 26, 2020 at 11:23AM
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DGA Awards: Nominees Talk Craft in Morning Panel - Hollywood Reporter
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