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When Connor came on as DP, the first thing he did was convince me to shoot anamorphic (using the Arri Alexa 4:3 with Kowa Anamorphics). I wanted camera movement, but using a Steadicam felt too smooth and polished for the subject matter, so we chose to shoot handheld. Breaking out track and a dolly everywhere would have just killed us-not to mention, many of the locations just wouldn’t have the space.
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This was a very performance-dependent film, so I wanted to minimize setup time and allow the actors to stay in the zone once we got started. With 19 practical locations to shoot in 22 days, with no prior on-set rehearsal time, I knew we needed a shooting strategy that would allow us to work as quickly as possible. My most difficult decisions in designing the film centered around the camera work. Practically, I knew this approach would also give me more freedom to shape my child actor Nico’s performance in the edit. For the boys, we covered the scene more conventionally with masters, two-shots, and matching singles. We often staged their action as a single, long take and allowed the silences to live in the final film. To achieve this distinction, we tried to play out Bo and Lola’s scenes with as few shots as possible. Conversely, Bo and Lola struggle with the claustrophobia of their trip as both adults are forced to share space in motel rooms and Bo’s truck while past resentments simmer beneath the surface. It’s an adventure filled with the promise of fast food, fart jokes, camping underneath the stars and swimming in the ocean.
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For the boys, the journey presents an opportunity to finally break free of their oppressive desert small town. I also wanted to differentiate between the two contrasting road trips. As the journey wears the characters down, they face each other more directly with less artifice. Sometimes, this amounted to something as simple as dressing a character in a button-down in earlier scenes and then just a T-shirt in later scenes, or cutting back on the amount of makeup as the road trip progressed. We also made choices that would slowly strip away other barriers standing between the characters. In support of this idea, Kim and David built a gradual progression from warm to cool colors into their design. sheds his anger, sheds her pride, sheds her nostalgia, etc.). The film is about “shedding,” in that every character sheds some emotional baggage through the journey (i.e. I wanted to create a subtle visual progression to help immerse the audience psychologically in the journey. Connor, production designer David Batchelor Wilson, and costume designer Kim Ngo. The visual design of the film was a collaboration between myself, director of photography John T. Traveling also provides the space and time for dormant feelings and issues to finally find a voice. It’s the perfect setting to explore the myth of American individualism versus the pull of family. Having grown up in Texas at a time when family vacations consisted mostly of long drives to nearby towns, I have first-hand experience of how the open road presents an emotional dichotomy-the feeling of complete freedom, along with a sense of entrapment with your fellow travelers. The central action of Run the Tide is formed by two competing road trips, as Rey (Taylor Lautner) “kidnaps” his younger brother Oliver (Nico Christou) and runs away, while his mother Lola (Constance Zimmer) gives chase with her husband Bo (Kenny Johnson). It’s much like reflecting over old photographs-how innocent and naive I was back then! Comment Today, just days before the release of my first feature film, Run the Tide, flipping through my initial lookbook feels like looking back into time.