00:07I became very interested in this idea of how do you use color and music and sets and costumes,
00:14these expressionistic elements of old school moviemaking,
00:17how do you use those to tell an emotional story but updated in a way that felt modern.
00:25Damien wanted to make a film in the style of those musicals from the 30s and 40s.
00:30Those are the musicals that I love the most.
00:32It was just so intoxicating, the idea of this sort of musical world version of Los Angeles.
00:41This was an opportunity to do a movie about a city that we care deeply about.
00:46There's something really magical about the city and I think that's what we wanted to explore with this picture.
00:51Most of the movie was shot on locations but every location was thoroughly designed, altered.
00:57Everything from subtle little touches like lamp posts that we peppered throughout the movie
01:01to more obvious builds like the planetarium set.
01:04We were able to take some of the deco flavor of the outside and just weave it into the inside.
01:09People will see the sets and never be taken out of the film but understand immediately that we are in
01:15a unique world.
01:16So there was a variety in the sets that talked about different eras.
01:20We were painting with paint.
01:22Mary was painting with her fabric.
01:24We went through the film scene by scene, myself and Damien and the Waskos.
01:29Timeless with a contemporary sensibility is absolutely what we were going for.
01:35When Mia starts off, it's a lot of vibrant color and as the movie continues and as she becomes more
01:42mature,
01:43the color starts to become less important and she's more sophisticated.
01:48Having costumes that pop is very much the theme of this movie.
01:54L.A. is actually cooperative when it comes to making film including the ability to take a ramp of a
02:01freeway
02:01in downtown Los Angeles and shut it down.
02:05It was really important to me that this was going to be a movie that lived in long takes.
02:08The idea is to have a camera that itself feels melodic.
02:13We wanted to make the film feel magic.
02:16It's a modern way of thinking where the camera could be more fluid than it used to be.
02:21The movements could be even more dancing with the dancers.
02:29One of the first things that I got the most giddy about was the fact that he wanted to shoot
02:33this like old style, no edits.
02:36So it's like Birdman meets Singing in the Rain.
02:39For the traffic freeway number, I had done a rehearsal beforehand when we just had dancers in a parking lot.
02:45Me with my iPhone doing the camera movement.
02:48But it's a different story when you get on an actual freeway ramp with an actual crane.
02:52Of course, it's literally the hottest day of the year.
02:54The whole thing somehow got pulled off.
02:56It's another day of sun.
03:15I don't know why I keep moving my body.
03:19The best movie of 2016.
03:21This is about the future.
03:22Really?
03:23Yes.
03:23I don't know.
03:25Is now the winner of seven Golden Globe Awards, including Best Picture of the Year.
03:29It's conflict and it's compromised.
03:31It's very, very exciting.
03:34We can start a fire.
03:35Come on, let it burn.
03:38We can start a fire.
03:40We can start a fire.
03:41Good night.
03:42La La Land.
03:43You restoration.
03:43Because of her body nice to fire around.
03:43You wait to be afraid of all.
03:43Amazing.
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