00:07I became very interested in this idea of how do you use color and music and sets and costumes,
00:13these expressionistic elements of old school movie making,
00:16how do you use those to tell an emotional story but updated in a way that felt modern.
00:24Damien wanted to make a film in the style of those musicals from the 30s and 40s.
00:29Those are the musicals that I love the most.
00:31It was just so intoxicating, the idea of this sort of musical world version of Los Angeles.
00:40This was an opportunity to do a movie about a city that we care deeply about.
00:45There's something really magical about the city, and I think that's what we wanted to explore with this picture.
00:50Most of the movie was shot on locations, but every location was thoroughly designed, altered.
00:56Everything from subtle little touches like lampposts that we peppered throughout the movie to more obvious builds, like the planetarium
01:02said.
01:03We were able to take some of the deco flavor of the outside and just weave it into the inside.
01:08People will see the sets and never be taken out of the film, but understand immediately that we are in
01:14a unique world.
01:15So there was a variety in the sets that talked about different eras.
01:19We were painting with paint. Mary was painting with her fabric.
01:24We went through the film scene by scene.
01:26Myself and Damien and the Waskos.
01:28Timeless with the contemporary sensibility is absolutely what we were going for.
01:34When Mia starts off, it's a lot of vibrant color.
01:38And as the movie continues, and as she becomes more mature, the color starts to become less important, and she's
01:45more sophisticated.
01:47Having costumes that pop is very much the theme of this movie.
01:53L.A. is actually cooperative when it comes to making film, including the ability to take a ramp of a
02:00freeway in downtown Los Angeles and shut it down.
02:04It 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.
02:12We 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.
02:20The movements could be even more dancing with the dancers.
02:28One of the first things that I got the most giddy about was the fact that he wanted to shoot
02:32this, like, old style.
02:34No edits.
02:35So it's like Birdman meets Singing in the Rain.
02:38For the traffic freeway number, I had done a rehearsal beforehand when we just had dancers in a parking lot.
02:44Me with my iPhone doing the camera movement.
02:47But it's a different story when you get on an actual freeway ramp with an actual crane.
02:51Of course, it was literally the hottest day of the year.
02:53The whole thing somehow got pulled off.
02:55It's another day of sun.
03:01Thank you.
03:23Grazie a tutti.
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