La La Land is my favourite movie. Thus, it is an inspiration for me to become a filmmaker. In my personal opinion it has everything that a great film should have, an inspiring and somewhat heart-breaking storyline, marvellous cinematography and a wonderful and catchy soundtrack.. With winning the Oscar for best cinematography, it is clear that La LA Land did a marvelous job with that. It borrows popular scenes from classics such as Singing in the Rain, New York New York and Moulin rouge only to name a few.
The shots and camera work almost exactly mirrors scenes from these cult films. That’s fascinating to me because I think, with this LA al alnd gives old Hollywood movies a modern twist and a way to stay relevant to a new generation. Scope format aamorphicThe camerawork seems so different compared to other movies. La LA Land does not only convey the characters emotion by dialogue and the musical numbers, but also by the movement of the camera.
To put it into the words of cameraman LS , the camera itself is emotianlly involved in the scenes. Especially during the musical numbers, the camera seems to dance with the actors. Instead of just capturing the moment, the camera follows and intrjects its own choreagraphed movements. A great example for that is the opening scene. A great example for this fascinating camerawork and the beautiful visuals is the scene alongside the musical number Someone in the crowd. The roommates of the fmain character Mia (Emma Stone) try to convince her to come along wth them to a party.
The scene starts out in their apartment, with them getting ready to go out. The camera follows the four women though the apartment and enhances the silliness of them dancing and foolig around by very quick and almost playful movements and spins. It then gets closeup to Mia who contemplates whether or not she wants to join them. They then step out onto the street wher a single tke follows them along through some more dance moves and the camera pans out into the sky and back down again. After arriving at the party and having seemingly pointless conversations mia walks to the bathroom. With the silence of the music th lightning changes as well. A spotlight lays on Mia almost as if she were on a stage and the camera moves in closer and closer. This happens on several occasions during the movie, as ro convey the characters in thought. Mia then walks out into the grden to the pool, every dancer around here in slow motion the light changes from red to lue and it suddenly seems to snow. The camera is behind mia and the people around her start to move faster and fster to the beat of the music. The camera pans upwards and a man jumps down from a balcony into the pool. The camera dives under water at thexact miment as he does and starts to spin frantically, partly underwater partly capturing the party above. It keeps on spinning and ends with a shot of fireworks, portraying the magical LA that Dmaien Chazelle wanted to portray in this movie. He also chose to light very intimately, employing classic Hollywood lighting techniques like spotlights, which helped him to separate characters from the background and also acted as a visual metaphor for the hopes, dreams and aspirations of the main characters, largely actors and musicians trying to make it big in Los Angeles.We create the spotlight on them and all the light dims away, he says, metaphorically, and it becomes between us, the viewers, and the character. The camera was supposed to react emotionally, and engage the audience with visual storytelling that is also emotional. The camera also had to be a bit of a musical instrument, because we didn’t want to just shoot it, but actually shoot in a way that the camera moved along, landing on a beat, and moving away again, or raising up with the frame to the music.Watching this movie felt like looking at a painting a seeing it move. This movie has every element that makes my heart skip a beat. The colors, framing are to die for. It has been years since I was struck by cinematography so bad as with this movie. Aside from that, the story is heartbreaking and beautifuLS: The cinematography was all driven by the emotions of the film. I think the camera itself is emotionally involved in the scenes. It decides to move in or to react emotionally. It’s whimsical when they’re having fun at the jazz club or they’re dancing and we pan it back and forth with the camera. Or we’re playful, or we’re suspenseful. So I think the camera movement is very emotionally involved as well as the lighting. With the light effects we do, where we dim the lights, we want to get closer to the characters. We want to put them in a position where they’re experiencing a little bit of their dreams”being in the center of attention in their theatrical life, which is a sort of clich©d version of a spotlight.Quite on the Ocntrast to LA LA Land is my next inspiration for becoming a filmmaker, the movie Brooklyn, directed by screenplay ugip. I have only recently discovered this masterpiece and fell in love with the wonderful storyline. Brooklyn is quire boring and uneventful, there is no glitz or glamour that reminisces of the usual Hollywood film, however the emotional journey that main character Eilis has to endeavor, is breathtaling and intriguing to the viewer.