A Dreamer Walking

Joe Wright – An Observation – Responding

Posted in Film and Filmaker Studies, Observation Series by Jacob on February 15, 2013

From my studies I have found there are two very distinct kinds of directors both of which I have tremendous respect and admiration for. There are the Fincher’s and Kubrick’s of the industry who are known for being perfectionists. Many say they already have the movie in their head before they shoot their first shot. Their job is to get what is in their head into the camera. Usually this involves countless hours of tedious work, where the director is trying to control as many details as the time allows to get his vision onto the screen. The other type of director I have encountered is the “Go with you gut” directors. These directors are the Eastwood’s and Spielberg’s of our day. Every day is a inspiration to them and they let these inspirations drive their directing. They do not obsess over flaws in the frame, in fact they capitalize on mistakes a actor makes or the weather creates and bring a more authentic feel to their films.

Joe Wright is a director who falls under the category of “go with your gut” directing. He has done his research but he relies on the performances, costumes, and locations to guide his directing. He wants to be inspired. This is one of the main reasons he does not like working on sets. No matter if he is shooting a period piece, a thriller, or a buddy movie, Wright wants to find actual locations to do most of his shooting. He get’s inspired by the locations and they become just as involved with his story as the characters. His mission is to inspire the crew and the actors to do their best work. He sets things up so the actors can actually mingle with the extras when they are not shooting. He plays music and gets rid of as many distractions as he could so his crew stays on task. During inmate scenes Wright said he tries to have only him, the sound recorder, the grip, and the cinematographer present with the actors so they could feel as comfortable as possible while executing their scene.

One thing you will notice with almost all of the personal scenes in Wright’s movies is his use of the a handheld camera or steady cam. In his commentary on Pride & Prejudice Wright talked about how most of film is about the technical part of filming but the handheld empowers the actors. The great Italian director Federico Fellini  is widely known for making the handheld style of filmmaking popular for the coming of age generation in the 1970’s. The first Rocky film was a breakthrough movie with the steady cam. Through the use of the hand held and steady cams filmmakers found they were less limited with the camera and could explore more personal things and create a more realistic feel in their stories. Using handhelds and steady cams allows the camera man to react to the action on screen in a much more intimate way. Wright likes to respond to what he sees and what he feels. When we watch Wright’s brilliant multiple minute single shots in Pride & Prejudice, Hanna, and Atonement, they are successful because they allow us to take a uncut second person view of the situation and soak in the environment, characters, and story as though we were there. We feel like we are in a 17th century ball, walking in the midst of beaten down World War II soldiers, and trying to escape from secret spies, all because of Wright’s superb ability to transport us into his worlds through the intimacy of the camera.

Even music is used in many of Wright’s films through the response of natural sound effects in the environment. Atonement starts off with the main character Briony at her type writer finishing her play. The typing from Briony slowly transitions into Briony’s theme music with the type writer noise maintaining the basis of her themes beat. At the end of the first act when Robbie is taken away, his mother begins to bang on the front of the police car. The banging becomes the main beat for the powerful climatic music used to end the first act. We see a similar use of sound in the movie Hanna, where helicopter propellers, traffic sounds, and combat noise transitions into the main themes used in the Chemical Brothers score. This is just another example of how Wright is inspired by the world around him and lets it guide him even in post production.

A good directer needs to balance between being prepared and leaving room to be inspired. After watching Wright’s latest film Anna Karenina it seems he brings his response oriented directing style farther then ever before. Unlike Wright’s other films Anna Karenina is mostly shot inside a set. He wants to bring to attention the story he is telling is piece of fiction intentionally dramatized to provoke emotion. Everything seems to be a response to Anna’s emotions.  There is even a time where everything stays still until Anna’s vigorous passion awakens them. Wright wants to awaken his audience . He will hit us with emotions that sometimes defy logic. In most of Wright’s films he does not even try to hide the fact we are watching a story unfold.  He has no intetion in making these stories look real. Instead he wants them to feel real and he will dramatize whatever he needs to to get the desired effect. He is looking for the audience to feel anger towards his characters, love, sorrow, and happiness. In short, Wright is looking for a response.