Filmmaker Darren Aronofsky has a favorite photo in his latest film, “Captured in flight”.
This is the Chase scene which takes place at Flushing Meadows Corona Park in Queens, NY, site of the world exhibition and which houses the Giant Globe known as the United. In a remarkable moment, a stroke of drone steals directly through the emblematic sphere to capture the action.
It has never been done before. “I don’t know if we were fully allowed to do so,” says Aronofsky Variety.
The director behind “Black Swan” and “Mother!” said: “The use of a drone has changed the cinema in the sense that it is so easy to get an air shot.” He continues: “When we did” Noah “and I really needed a lot of aerial photos of the flying doves to the ark to the huge battle around the ark, we only had cameras and helicopters, and you could not really drive helicopters on people. There were incredible limitations. ”
And although the use of drones has become commonplace in filming, Aronofsky knew that if he was going to use a drone, he wanted to make a cool blow.
Located in the Basse-East Village of Manhattan in the 1990s, “Tirked Fly”, in theaters now, presents Austin Butler like Hank, a bartender blinded by trouble when his neighbor, Russ (Matt Smith), asked him to take care of his cat. Events are unleashed while Russ’s entanglement with gangsters attracts Hank in danger to the worst time.
The sequence of the pursuit of the car comes in the third act of the film when Russ returns and the two find themselves on the run. They find themselves stuck on the Flushing Meadows site.
High voltage sequences were made possible in cooperation with New York parks and a qualified drone operator named Dexter Kennedy.
In the first conversations, the sequence was going to take place on the New York FDR Drive. But it would be difficult to close this. The New York Parks department has been collaborative, but shooting the streets and on the highways has rethought the idea. In addition, the modern aesthetic of the city was different. Aronofsky says: “The East river was being overhauled and renovated, and everything that was there had just been recently demolished.”
It was at this point that the Unisphere, the 1964 World Fair site, came in mind – perfect for high -speed prosecution that bypass an emblematic location. “We were super excited,” explains Aronofsky.
Aronofsky had his unmissable collaborator, director of photography Matthew Lebatique, by his side. “Tirked fly” marks their 10th collaboration.
Pulling the pursuit was not an easy task. Lebatic that worked on “Mother!” And “Black Swan” says: “We generally shoot in controlled environments, but that represents four days of filming, under an open sun, in a very large park, and we had to travel a great distance from the start of the scene, to the United States, then, in the end, in the Shea stadium.”
If the performances seemed real, it is because they were.
The flight car Russ has is a vintage Toyota Celica. Lebatic explains: “We have done things like putting the Celica on a thing called a cookie (a platform for the car to be required with strong tires driven by a person in a cage). We can get authentic performance in a situation. We were also able to interact with them. ”
Aronofsky and Lebatic did not use a second unit crew. Instead, they captured the action themselves. And yes, Butler makes all his waterfalls, in particular suspended an escape scale and leading the mini-duties.
This meant that they did not have to cut emotions on the faces of the actor; They could stay with performance and integrate both. “I think that is what makes it so striking, as well as the fact that we are turning around the unisphere,” explains Lebatical. He continues by saying: “Keeping it in the situation will help the actors at any time; Rather than being on stage with a green screen or a LED wall, it will put them in the place and urgency of what we do with the camera, and that they have performers are infectious. ”
Adding to the film is the way Aronofsky and Lebatic have played New York city. Aronofsky says: “It has become a very deep dive into what the neighborhoods would work best for the scenes.”
The two have distinct memories of what the city looked like at the time. “The locations have rewritten part of the film and dictated the appearance of the film. Once we saw the locations, we understood the camera and we understood the appearance and texture of the film,” explains Aronofsky.
