Roger deakins hail caesar9/1/2023 We listened and drew inspiration from a lot of K-pop and wanted to make sure we incorporated a lot of fun and fresh synths, beats, and vocal chopping into our score. We knew that not only did our score need to pay homage to K-drama, but it also had to complement these K-pop hits! They did such an amazing job with licensing some of the biggest and hottest K-pop needle drops such as BTS, Black Pink, and ITZY. Our music supervisors on the show, Lindsay Wolfington and Laura Webb, also helped us dial in musically to the tone and sound of the show. ![]() The showrunners ended up loving Jina’s voice and performance on the song so much so that her vocals ended up making it into the OST! The lyrics needed to reflect a female’s perspective of falling in and out of love and honor that at the end of the day, even if the love didn’t work out in the end, it was still love, and that everything would be okay.Īfter we established and discussed the main themes and ideas behind the song, Jina, being the Korean in our duo, not only went to work and wrote the lyrics, but also recorded the vocals. When we were creating the OST love song, the show was still shooting in Korea, but from reading the scripts we knew that the love song was also going to need to double as a "heartbreak" song. Usually, in dramatic moments, it’s a cue for the song to come in like when the lead couple kisses, breaks up, or reunites after several years! So much so that we were asked to also create an OST for the show.įor those who don’t know what an OST is, K-dramas normally have a main song that represents the sound and feel of the entire show. ![]() ![]() N our initial meetings with co-showrunners Jenny Han (also the show’s creator) and Sascha Rothchild, we knew that K-drama was going to have a huge influence on the show, and our music needed to also pay homage to the K-drama genre. This is Kitty’s journey as she navigates through teenhood, discovers love and heartbreak, friendships, family, and loss…and our score weaves through the young, fun, and fresh sound to moments of nostalgia and sentiment. Our score for XO, Kitty needed a modern/contemporary approach to the score to not only convey the glistening and bustling world of Korea but to also reflect how much Kitty has grown up since To All the Boys, and help portray her fun, bold, adorable, and somewhat cheeky personality as a matchmaker. That's likely what the Coen's are thinking, and why they and Deakins went back to film for Hail, Caesar!, a film that takes place in the 1950s. There is certainly an argument to be made that 70mm converted to digital will still give you a look you're not going to get digitally. While Deakins likes film, he sees it as just another tool, and if you are going to make a film in a format that only a handful of people will see, who are you really making the film for, a selected audience or the general public? Watching 70mm in its native format is really something else, but not many are going to be able to see it this way. If you want to see exactly what they are talking about, this BTS footage gives you a look at the set the Sicario team created:Īs for Taratino and the showings of The Hateful Eight in 70mm, Deakins makes a great point. ![]() When asked by Poland, Deakins agreed that this means the filmmakers have done their job, when a shot is sold and the audience doesn't notice. In this great DP/30 interview from David Poland, cinematographer Roger Deakins talks Sicario, when a DP has done their job, working with different directors, and whether 70mm makes sense if the general public won't see it projected that way:Īs Deakins says in the interview above, the average person doesn't recognize that they aren't at a real border crossing in Sicario (the border crossing is in a parking lot and the rest was accomplished digitally).
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