Doubt (2 replies and 1 comment)
Wow, I was just watching Doubt and there’s so many wonderfully composed shots throughout. I was wondering how much storyboarding you did on that film? And how your shots were chosen with the director?
It looks like lots of the compositional choices were dependent on the exact spaces, and situations. (Especially the opening title sequence)
Did you storyboard it all which you seem to do more often than not, or shotlist it and find the shots the day of?
And with the coverage, when you story board something like Phil Hoffman’s speech, do you story board that, but film the entire speech with each setup? Seems like it’s cutting between lots of coverage. Did you film most of the speech in each setup per the storyboard, or just go by a shotlist?
Either way, wow such a beautiful film.
None of 'Doubt' was storyboarded in advance. John and I did talk in general about the 'look' of the film and some discussion of shots took place as locations were scouted and sets planned. But, as is the norm on a film, we would do a rehearsal on the morning of the shoot and then discuss the shots when the blocking was finalized.
On average, how many pages of script did you shoot on a given day? Based on your answer here, I get the impression (more or less) that you were shooting one scene a day and rehearsing that scene the morning of. Or perhaps, as is common, you rehearsed a "Day" scene in the morning, and shot for the 6 hr period and then rehearsed again for a "Night/Interior" scene and then shot the rest of the 12 hour day.
I understand that not all films are shot this way, but to my knowledge this is a standard approach for many productions.
We would shoot 12 or 14 hour days. We shot the film in New York in the winter so natural light was at a premium. Consequently, all the day interiors were lit. Sometimes we would rehearse in the evening for the next day's work so as to save waiting for make up after rehearsals but we rarely, if ever, split a scene as you suggest.