And he’s already bruised: he is going through a painful divorce from Catherine (Rooney Mara), with whom he had been together for decades living alone, he freely admits to his friend and neighbor, Amy (Amy Adams), that he is addicted to video games and Internet porn (we see plenty of the former, only a hint of the latter). It’s just a period that hasn’t happened yet.From the movie’s very first scene, an extreme closeup of Theodore dictating a love letter on the occasion of a fiftieth anniversary that’s not his own (that’s his job, as a writer at a company that produces personal letters for hire), it’s obvious that Theodore, a cog in a cheerfully ruthless machine of technological simulacra for human connections, is coming in for a bruising. But in many ways this is a period piece too.
HER SPIKE JONZE BROLL MOVIE
MN: You were coming off shooting “Tinker Tailor Soldier Spy.” I can’t imagine a movie more different in setting or tone. And we’d have to take all of those locations and make them work in the same scene. and that felt right, and then a square in Shanghai that made you feel how big that city has become and that felt right, and then an interior in L.A. HVH: That’s where you need strong direction, merging two cities like that. look like the same place (and yet a totally different place than either city).
HER SPIKE JONZE BROLL HOW TO
MN: Of course when you did go wide you had a different challenge: how to make Shanghai and L.A. We tried to do it different ways like shooting behind his neck or these other tricks and every time we did it felt like we stepped out of the universe. But you needed to do it a lot of the time. You had to know the exact second when it was too much. It’s hard to keep making those close-ups interesting enough that you keep watching. MN: That can’t be easy, for him but also you, spending so much of the movie right up there practically in his mustache. We lost the intimacy when we drifted away from him. For the movie to work you have to access Theodore’s feelings, and when we tried to give a little distance it didn’t work. Samantha is just a voice, and Joaquin is alone, so we had to rely on Joaquin and his expressions. HVH: As much as I’d like to say that’s an artistic choice, in some ways it was really us forced into a corner. Why was that choice made? Was it simply a matter of the intimacy or.? MN: Much of the film has Joaquin Phoenix’s face in extreme close-up. It allows you to find the poetry as a cinematographer. He’s someone who can be concrete but also doesn’t want to be too concrete because he wants to find things between the lines. HVH: Spike is one of those great directors who has very specific ideas. MN: How specific was Spike in saying he wanted it to look a certain way? They help you make something realistic, or something unrealistic, or something realistic with a twist, which is what I think this is. MN: The production also had the infamous “no blue” rule. So it’s very much chasing the sun and capture moments in which the light is most gentle toward the city. A lot of times we’d be building up the frame and then we’d say, “Let’s eliminate certain things so it looks more like a hypothetical universe.” We were also trying to create a very comfortable L.A. I wanted to avoid certain light sources, certain things that will make you connect it with something you know well. Barrett, it seems like the governing principle wasn’t so much about the things all of you did want than what you didn’t want - things that make it seem too stereotypically “futuristic.”
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