Anamorphic format

We have a really great working relationship, and he's a great cinematographer.

And I think the biggest decision we made with this film was to do it in anamorphic, and both to kind of contrast and deviate from because there's a lot of like phone footage in the film because like she does you know both videos and there's like video phone calls and stuff so I wanted to have a very distinct like deviation and contrast between those and also because it's a very like intimate film and it happens you know it's about one person it's a lot of like in apartments and I think in order to bring a contrast of like to make it grander, to kind of build up the emotions, you know, to make it cinematic, we wanted to do it in anamorphic, you know, to kind of, because usually with anamorphic, it's usually like, you know, big action films or like, or period pieces or like these kind of grand, like sweeping vistas or whatever.

But if you do a more intimate scene, character piece in Anamorphic, I feel like it kind of elevates the emotion also.

That was kind of the... idea i think

i gotta i gotta say the ending of the film not to give anything away just talking about camera work the continuous feeling of it just being one like long take felt really uh you know you can see connections certain parts of course but it's not something that anybody's gonna pick up on if anything and it looks like one of the most perfect scenes I've ever seen.

In that encyclopedic, you know- Yes ...

the CinemaScope, uh, song, as I think that, uh, Dylan among so much else says, "Take me back to Tulsa, to the scene of the crime." Mm-hmm.

And I don't think he's ever specifically said, "Well, of course, what I'm referring to is the Tulsa Race Massacre." Right.

But it, it just seems to resonate- Yeah ... that way.

Let's see.

Anamorphics.

You think you're going to get a good deal on anamorphics right now? Maybe on Black Friday.

I don't know.