In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series each Friday. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.
After watching dozens of car chase scenes in movies, the director Reed Morano said that the scariest place to be visually as an audience member was inside the car.
“Anytime I’ve watched one and we cut out of the car, the tension drops for me,” she said in an interview.
So for her action thriller “The Rhythm Section,” about a woman, Stephanie Patrick (Blake Lively), who becomes an assassin, Morano wanted to build maximum tension with a car chase sequence that didn’t ever leave the car. Instead, all the action is shot hand-held from the passenger’s seat, the camera panning front and back to capture the chaos and danger happening outside the car, as well as Stephanie’s expressions as she navigates the car.
The sequence appears as an unbroken shot (though it was a few stitched together) and involved some elaborate staging to put together. Morano’s director of photography, Sean Bobbitt, shot from the passenger’s side seated on top of a sliding rail system that gave him mobility to shoot either closer to the windshield, or slide toward the back.
Outside the car, Morano said, “we had these amazing stunt people that, all the way down the line, had things to do: cars, motorcycles, guys jumping out in the street, people on bikes.”
“It was definitely the most fun thing to shoot,” she said.
Read the “Rhythm Section” review.
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February 04, 2020 at 01:36AM
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Ride With Blake Lively in a Car Chase Scene From ‘The Rhythm Section’ - The New York Times
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