The music in spectre film first action sequence

SMITH: That was all four single-camera set-ups that were all joined in the editing room and with the aid of digital technology, made seamless. Was there any coverage shot of that, or was it вЂњgo big or go homeвЂќ in making it look like it was all one or two shots? First as Bond walks through the Day of the Dead celebration into a hotel, up an elevator and into a bedroom, then from the bedroom out along a rooftop. ThereвЂ™re two big set-piece Steadicam/crane shots that go on for several minutes. HULLFISH: Talk to me about the beginning of the movie. And in fact, in some instances, the punches DID connect. It was all about how it was shot, where you cut, sometimes with the right angle you really can make it look like a punch connects. But a lot of the time it was the actors who were ducking or taking punches. YouвЂ™re right that when you Bond got thrown through a wall backwards that the odds are itвЂ™s a stunt person and it was. The coverage was very weighted to the actors and thatвЂ™s one of the reasons I think that sequence is so enjoyable to watch, because the percentage of stunt work is very small. The stunt guys were really only peppered throughout that scene in a very small fashion. They are play fighting, but I stood next to both of them on occasion and you would not want to get hit by either one of them. TheyвЂ™re big, fit, tough guys and they werenвЂ™t pulling a lot of what they were doing. That was a very physical sequence and Daniel actually got hurt and so did Hinx. A lot of that, Daniel did himself and so did his nemesis, Mr. Spectre-Spectre_EPK_DOM_Clip_TrainFight_h264_hd from Steve Hullfish on Vimeo. Bond flies through some walls and stuff like that, so IвЂ™m assuming a stunt person did at least some of that work. You mentioned the difficulties of editing when stunt people are involved. HULLFISH: IвЂ™m thinking about the sequence on the train between Bond and the giant guy. WhoвЂ™s stopping who and why are they stopping them and stay within some realms of plausible logic. You have to have some reason for that action sequence to take place. Or you can go for the visceral, realistic fight. You go into high speed photography (slow motion ) just to clarify a story point. HULLFISH: Do you find in those fight sequences if you have some kind of musical pacing: fast sections and pauses and changes in dynamics? Just the visual excitement of it in some films is very tiring when the fight sequences just seem to go on too long. Indeed, fight sequences get boring very quickly if theyвЂ™re not moving the story along. If itвЂ™s just random explosions and people flying through the air and getting shot at, it gets boring very quickly. If thereвЂ™s a cause and effect, you can follow it. The fight has to have a narrative reason to be there rather than just people fighting. Some fight sequences end up getting cut to the point where you have no understanding of whoвЂ™s fighting who or they might be lit in such a way that itвЂ™s difficult to figure out whoвЂ™s fighting who and you have to slow the cut down just a little bit to make sure youвЂ™re with the main character. You have to follow who youвЂ™re with and make it as clear to the audience as possible at every given moment whatвЂ™s going on.

If the stuntman or stuntwoman is heavily featured it can be a little bit tricky in terms of angle choice as the stunt performer has to be hidden from the audience, CGI has been used of late for head replacement, which is very useful but the physical movement of stunt person versus actor is quite often the giveaway making it difficult for the editor to hold onto a shot for any length of time. SMITH: Fight scenes kind of live and die on the quality of the fight coordinators and the ability of the actors to perform most of the fights themselves. Spectre-Spectre_EPK_DOM_Clip_PalazzoExit_h264_hd from Steve Hullfish on Vimeo. HULLFISH: There are a number of fight scenes in вЂњSpectre.вЂќ What are some of your words of wisdom for approaching a fight scene? His credits include вЂњThe Truman Show,вЂќ вЂњMaster and Commander,вЂќ вЂњBatman Begins,вЂќ вЂњThe Prestige,вЂќ вЂњThe Dark Knight,вЂќ вЂњInception,вЂќ вЂњX-men: First Class,вЂќ вЂњThe Dark Knight Rises,вЂќ вЂњInterstellarвЂќ and, most recently, Sam MendesвЂ™ contribution to the James Bond franchise: вЂњSpectre.вЂќ Accolades include two Oscar nominations and two Eddie nominations for Best editing. Lee Smith, ACE, has been a feature film editor since 1986. He also has two Oscar nomination for Best Editing. Lee Smith, ACE, most recently cut the Bond flick, вЂњSpectreвЂќ but has also cut вЂњMaster and Commander,вЂќ вЂњBatman Begins,вЂќ вЂњThe Dark Knight,вЂќ and вЂњInterstellarвЂќ and many others.

The music in spectre film first action sequence