The lake house, the film headed by Keanu Reeves and Sandra Bullock directed by an Argentine

Hollywood and Argentine filmmakers are not completely alien to each other. It is clear that producing a film or a series in our country is not the same as doing it with infinitely larger budgets, but there is something about the creative eye that tends to tempt producers from North American lands, who come looking for national directors. Just think of the cases of Andy Muschiettiin front of the next Flash film, Damian Szifron and his next film Misanthrope, or John Joseph Campanella and all the series he directed such as Law and Order or Night Sky.

One of the Argentines who had the pride of directing in Hollywood was Alejandro Agresti, who in 2006 was in charge of one of the most remembered romantic dramas by those who consume this type of story. It was The Lake House, a film that mixed time travel with two lovers who could not coincide in time and space but managed to communicate through letters that were sent through a magical mailbox.

One of those responsible for helping Agresti in this film he was the director of photography alar kiviloa Canadian with a background in Hollywood who he says served as a “bridge” to unite the world of Agresti, of art cinema, with that of the most important industry in the world. In an interview with REALPOLITIK, kivilo told how it was to be part of La casa del lago, along with Keanu Reeves Y Sandra Bullock as protagonists.

RP.- How did you come to work with Alejandro Agresti?

The story of The Lake House is interesting, because I was going to Toronto… I was living in Los Angeles but I was going to Toronto to shoot a commercial. I told my wife I’d be back in three days. At that time she called me Alexander Agresti and he said to me: “Would you like to come and make this film?” It was all very fast. I got on a plane, I read the script on the plane and from there they picked me up to take me to the set. It was the same day that Sandra Bullock started working on the film.

RP.- What memories do you have of the filming?

Everything in The Lake House was an interesting experience for me too, I must admit. Because I believe that Alexander Agresti he is an exceptional and talented director, with a very strong vision of what he wants. He is what I call a true film director, who knows lenses, costumes, lighting. He has an idea for the whole ensemble and not just working with actors. In a way, the Lake House experience was the least collaborative I’ve ever had with a director, because he was so into everything. He focused a lot on finding and putting his own stamp on it. In that film, my job was to constantly support him. My work was also cultural, in the sense that everyone in Hollywood was very strange to me. Alexander, which came from art cinema. It wasn’t collaborative but nonetheless one of the most satisfying creative experiences I’ve ever had.

RP.- How was it working with a set built on a lake?

It was a risky glass set and it was outside. So you were completely at the mercy of the weather. And he proved to be a real director. It’s very easy to say, “Ok, I want it to be like this, that’s how I’m going to build it and that’s how it’s going to look.” To do that, to guarantee it, they had to have built a set with blue screens and then you had complete control. But you lose the coincidence of the weather. It was an amazing set. Nathan Crowley was the production designer. He is very talented and became the quintessential production designer for Christopher Nolan.

RP.- The film was not released in theaters and went straight to DVD. Did it influence his work?

I heard this is what it does steven spielbergI don’t know if it’s true, but I stole it from steven spielberg. Apparently this happens when you’re framing for television and not for the big screen, people gather around the monitor and everyone sees the work on this small monitor on set. That’s your reference. Spielberg do something interesting, have your art director or the art department cut out little silhouettes of people and glue this to the bottom of the screen to make it look like you’re in a big movie theater, because it has those references with these little people lined up and the screen . If you have a close-up like that, with the eyes and the nose, and you see the small audience at the base, you know it’s a huge close-up. What’s important about that is that often the wide shots, which tend to be cinematic and give you a sense of place and where the characters live, tend to be sacrificed because people look at the small screen and say, “It’s a wide shot, I don’t see anything interesting there.”

RP.- It is a film with physical correspondence. Do you think you could adapt in these times of social networks?

At the heart of every movie is the story and I think things like love and relationships, if told honestly and humbly, even assuming how the mechanics of relationships have changed in recent years, with social media and the internet and everything that, I think it’s possible to capture that feeling. And it is possible on two fronts. to do it by completely taking on popular culture, assimilating the world, technology… But I also think that The Lake House… I hope people consider it more of a classic, but another way of saying “classic” is saying old-fashioned . And it’s an old-fashioned love story. (www.REALPOLITIK.com.ar)

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