00:00I think what is going to be the moment that people are talking about in this episode,
00:04which is the shot of John and Carolyn walking out of the wedding.
00:14Now for their first dance. It is such an iconic photo. It's such an iconic moment in time.
00:21Would you just walk me through pulling that off and trying to make sure that it is done
00:26perfectly? Collaboration and magic hour is, is sort of like the, the two words I can think of
00:33best to describe how we pulled off that moment and, and really the, the whole ceremony and,
00:40and the essence of the, the, the reception afterwards, our location manager, where they
00:48found this plot of land in upstate New York, you know, we, we couldn't travel our, our, you know,
00:54a crew of a hundred plus to a remote Island. And so we had to find it in New York
01:00and we did,
01:01you know, we built that entire chapel from the ground up. It was just literally a plot of land.
01:07There were some horses, it was on Long Island and we built it to the exact T to, to the,
01:16the chapel they got married in square footage and all. And, you know, there were some photos,
01:23not too many, but we, we definitely had a binder about yay. What, you know, thick of all the photos
01:30from that day. And we just sort of studied it. And then Sarah and, and Paul took over and they
01:40truly,
01:40you know, embodied that moment of love and joy and family and probably relief too, that they escaped
01:52the paparazzi and they finally, they're finally married. You know, I think we, we just waited for
02:01the sun to be exactly perfect. And our key grip, Jenny, I want to throw her name out because she
02:08was amazing and it's very rare to have a female running that department. And, and she set up a
02:13giant light and we snapped it and we created that flash. And yeah, we had literally, you know,
02:20like seven minutes to shoot that. Oh my gosh. So was it one take or did you guys have to
02:24do a few?
02:25Did we get a few in? Were there other options? We got a few takes in, we always got a
02:28few takes,
02:30but not too many. And another moment that I absolutely loved. And I think people are going
02:33to be talking about from the episode is the end, the perfect cap of them floating.
02:51It's such a beautiful shot. Um, and I wanted to know how you guys pulled that off. What went into
02:57that? Um, and why that felt like the perfect cap for this episode? Well, I give most of the credit
03:04to my DP Pepe, um, look up his last name. Cause I'm also going to butcher that. Cause apparently
03:10I am just bad at, at all names. Um, and I have a very hard name to pronounce, which makes
03:17the irony of this story even worse. Um, so yeah, so it started with, everything actually starts with
03:25the script. Julie Weiner wrote the most, uh, beautiful script. And, uh, it was just, the wording
03:33was different than any episodic script I've ever read before. And it was just one sentence where
03:39it just says the couple, um, levitate as they, uh, the happy couple levitate as they walk onto the
03:47dance floor. I don't believe she meant levitate, but Pepe, my DP and I read it and he's like,
03:55let's make them levitate. And I was just like, okay, let's, let's do it because, you know,
04:02your wedding day at, like you said, after you feel the rush and all of the adrenaline of the planning
04:09and pulling it off and being in a small chapel with all of the people you love the most, and
04:15then
04:15entering into this, um, magical lit tent by the moon and beautiful lanterns, um, you kind of feel
04:27like you're going to levitate. You kind of feel like you're the only ones in the room and like all
04:33the love is sort of pushing you up and floating you. And so we proposed that to, you know, um,
04:40um, Brad Simpson and Ryan Murphy. And I think they were a little bit like what? Um, but once we
04:47talked it through, they were so supportive and on board. And we literally dug a hole in the grounds
04:53of this lawn of this fancy mansion on long Island and, um, put in a hydraulic lift with a rotating
05:02platform on top of it. So like a disc. So Sarah and Paul were actually spinning.
05:08And a lot of the people around them were, uh, stunt, stunt people just, you know, making sure
05:15that they, but they were dancing and, and, and, um, and it was, and we created a circular dolly track
05:22around it. So we would counter and, and, and sort of just keep on moving around them. So all those,
05:30that intimate dialogue, we didn't have to break it up with relighting one side of the room. And it
05:36felt very, um, organic and natural, and they could take as much time as they wanted to deliver these
05:42lines and to gaze at each other. And it, again, it was just like, it's just my job to set,
05:49set them up and, and let them take over. Um, and, and they were excited to levitate.
Comments