Watch Dwayne Johnson Chase Ryan Reynolds in ‘Red Notice’ | Anatomy of a Scene
A chase scene through a museum allowed the filmmakers behind “Red Notice” to try out some fun new technology.
This sequence involves the F.B.I. profiler John Hartley (Dwayne Johnson) getting into a foot chase with the art thief Nolan Booth (Ryan Reynolds). The chase involves some creative use of scaffolding and some inventive reuse of locations.
In this video, the writer and director Rawson Marshall Thurber discusses how he and his crew worked through some of the limitations involved in shooting the film during the pandemic. They couldn’t leave Atlanta, their home base for the production, and had to build a museum set on a soundstage there.
“Ryan and Dwayne chase each other through hallways, and oftentimes, what we would do is have them run through one hallway,” Thurber said, “and then overnight we would change it to look like a different hallway and they would run back the other way.”
The filmmakers also employed a small camera called the Komodo, from Red Digital. That camera was attached to a race drone, which could chase the actors through the sets.
“It got us some pretty great shots,” Thurber said.
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November 22, 2021
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Watch Kristen Stewart Embody Princess Diana in ‘Spencer’ | Anatomy of a Scene
A dinner with the royal family becomes a hallucinatory nightmare in this scene from “Spencer,” starring Kristen Stewart as Princess Diana.
Diana is late to join a formal dinner and arrives in a somewhat agitated state. The scene plays without dialogue and is scored with string music from the composer Jonny Greenwood that grows ever more anxious as the dinner progresses.
Narrating the sequence, the director Pablo Larraín discusses some of his techniques for heightening the mood. He said that he had asked Stewart not to go onto the set until they were ready to shoot, so that when she enters, it would be her first time seeing the rest of the cast in place at the table.
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November 12, 2021
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JOBS FOR ALL! - How Is Work Working for You? | Op-Docs
Last year, during a pandemic that endangered and disrupted the global work force, Sweden’s public broadcaster Sveriges Television AB asked us, Maximilien Van Aertryck and Axel Danielson, to make a film about work. We were given unfettered access to its visual archives, studying the way work has been portrayed and discussed in the modern age.
While making "JOBS FOR ALL!," we began to ask ourselves questions about how work works today. As you may have seen in our previous Op-Doc, “Ten Meter Tower” (https://youtu.be/5QMlIjSnt_E) we’re filmmakers interested in human nature, examining how and why we do what we do.
Here, we ask whether we work to live or live to work. Can we achieve true democracy without considering economic democracy? Can economic growth and value be achieved only by exploiting the work of many to create value for the few?
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November 10, 2021
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Liberal Hypocrisy is Fueling American Inequality. Here’s How. | NYT Opinion
It’s easy to blame the other side. And for many Democrats, it’s obvious that Republicans are thwarting progress toward a more equal society.
But what happens when Republicans aren’t standing in the way?
In many states — including California, New York and Illinois — Democrats control all the levers of power. They run the government. They write the laws. And as we explore in the video above, they often aren’t living up to their values.
In key respects, many blue states are actually doing worse than red states. It is in the blue states where affordable housing is often hardest to find, there are some of the most acute disparities in education funding and economic inequality is increasing most quickly.
Instead of asking, “What’s the matter with Kansas?” Democrats need to spend more time pondering, “What’s the matter with California?”
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November 08, 2021
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Watch the 1960s Come Alive in ‘Last Night in Soho’ | Anatomy of a Scene
A song from Cilla Black and some flashing lights from a French bistro summon a little dreamy 1960s magic in this scene from “Last Night in Soho,” a thriller by the director Edgar Wright.
Thomasin McKenzie stars as a fashion student with ’60s obsessions who is, as Wright puts it, “supernaturally switched on.”
As she goes to sleep in her new flat, she has a dream that takes her back to her favorite decade, across a busy street in London and into a lavish nightclub. In this video, Wright explains the more-complicated-than-it-looks nature of timing flashing lights to the beats of a song, as well as other practical effects he used to create a mirror-image moment (actually building a “mirror” set and using twin actors on either side of it).
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November 05, 2021
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A Fatal Night in Kenosha: How the Rittenhouse Shootings Unfolded | Visual Investigations
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In the months leading up to Kyle Rittenhouse’s trial for killing two people, we analyzed hours of footage and interviewed key witnesses from that fatal night in Kenosha, Wis., to understand how the country’s polarization set the scene for violence.
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October 28, 2021
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Greta Thunberg Has Given Up on Politicians. But Not You. | NYT Opinion
Why are we asking a teenager how to solve the climate crisis?
“It’s absurd,” says Greta Thunberg, in an Opinion Video guest essay, that we are asking her to answer this question. Even more absurd, she argues, “is the fact that the climate and ecological emergency is being reduced to a problem that needs to be fixed.”
On Tuesday, evidence of what Thunberg calls the “political and economic failure” to address climate change was on full display when the United Nations released their annual report detailing “the difference between where greenhouse emissions are predicted to be in 2030 and where they should be to avert the worst impacts of climate change.”
The report paints a bleak picture of missed targets and pledges that don’t go far enough.
In her video guest essay, Thunberg criticizes the presidents, prime ministers, kings and queens attempting to wield her image for their own political gain.
The animated video offers a unique window into the life of the 18-year-old Swedish activist.
“You all come to us young people for hope. How dare you!? You have stolen my dreams and my childhood with your empty words,” Thunberg famously said to the United Nations.
Our video unpacks the experience of being transformed into an icon; the experience of being Greta Thunberg.
And Thunberg is correct — selfies and hashtags won’t save the planet.
And yet, she still believes humanity has not failed. In a rising ocean of troubling news, she has managed to hold on to hope.
Hope, not from politicians and leaders, but from ordinary people. The masses, she argues, have the power to create change.
As political powers head to Glasgow next week for COP26, Thunberg has a message to those of us not going to Scotland: “Hope comes from people, from democracy, from you.”
“It’s up to you and me,” she says. “No one else will do it for us.”
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October 26, 2021
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Watch Timothée Chalamet and Josh Brolin Spar in ‘Dune’ | Anatomy of a Scene
A combat lesson raises the stakes in this scene from the latest film adaptation of Frank Herbert’s futuristic science-fiction novel “Dune,” in theaters and on HBO Max.
Timothée Chalamet plays Paul Atreides, the son of a duke who is taking over as ruler of the desert planet Arrakis. In this sequence, Paul trains with one of his father’s aides, Gurney Halleck (Josh Brolin), who tests his skills in swordplay.
Narrating the scene, the director Denis Villeneuve said that it needed to serve four purposes. First, it had to establish the relationship between Paul and Gurney. Second, it should provide more context surrounding the Atreides move to Arrakis. Third, it had to convey the idea that Paul has been training for combat but has never experienced real violence. And finally, the director wanted to introduce the concept of the Holtzman shields, which protect people from fast objects, making bullets obsolete and forcing combat to once again be waged by swords rather than guns.
Villeneuve worked with the fight coordinator Roger Yuan to build the scene using a Filipino martial-arts style developed in the 1950s called Balintawak Eskrima, which involves blocking the opponent’s attack with a weapon and a free hand. And the director said he worked with his cinematographer, Greig Fraser, to shoot the fight as if they were shooting a dance performance. “The goal was to embrace the complexity of the movements with objective camera angles,” Villeneuve said.
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October 22, 2021
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The Bravest Thing You Can Do Is Quit | NYT Opinion
It’s been a brutal few years. But we’ve gritted through. We’ve spent time languishing. We’ve had one giant national burnout. And now, finally, we’re quitting.
We are quitting our jobs. Our cities. Our marriages. Even our Twitter feeds.
And as we argue in the video above, we’re not quitting because we’re weak. We’re quitting because we’re smart.
It echoes what the 18-year-old singer Olivia Rodrigo expresses so profoundly when she laments, “I’m so tired that I might quit my job, start a new life, and they’d all be so disappointed, ’cause who am I if not exploited?” Perhaps it’s fitting that younger Americans like Ms. Rodrigo and the extraordinary Simone Biles are barely old enough to rent a car but they are already teaching us about boundaries. They’ve seen enough hollowed-out millennials to know what the rest of us are learning: Don’t be a martyr to grit.
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October 22, 2021
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Searching for the Lost Graves of Indigenous Children in Canada | NYT News
For more than a century, Indigenous children in Canada were forced to attend residential schools, where many endured abuse. Thousands were never seen again and survivors were long ignored. We followed a team of archaeologists who came to the Muskowekwan First Nation to search for the graves of these lost children.
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Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch.
October 21, 2021
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‘It’s Just a Matter of Time for the Taliban to Find Me’: On the Run in Afghanistan | NYT Opinion
As the clock wound down on the American military presence in Afghanistan during the summer, Najlla Habibyar, a 37-year-old Afghan living in Kabul, planned to leave the country. A United States green card holder, she was among thousands of Afghans who had worked closely with the American government — an association that, she suspected, made her a ripe target for the Taliban.
But in a lightning-quick offensive in early August that seemed to catch everyone by surprise, the Taliban swept across the country and into Kabul, and suddenly the nation was theirs.
Ms. Habibyar, effectively trapped behind enemy lines, prepared to die.
In the Opinion video above, Ms. Habibyar, using video diaries she sent to The New York Times over the course of several weeks, documents her life on the run as she and about 20 relatives move from safe house to safe house while seeking an escape route out of the country. She recorded the diaries knowing they might be her last chance to share her story with the world.
“I think it’s just a matter of time for the Taliban to find me,” she said.
During this fight for survival, she wrestled with the painful truths of her lifelong and deeply troubled relationship with Afghanistan, a country that she loved, yet one that never fully loved her back.
Her story, in some ways, is the story of generations of Afghans and their struggle to find a stable home amid ceaseless political uncertainty, armed conflict and loss.
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October 14, 2021
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Inside an Afghan School the U.S. Helped Build, Then Destroy | Afghanistan News
After years of fighting, Afghanistan’s war-torn rural areas are opening up for the first time. We traveled with the Taliban to a U.S.-funded school in Faryab Province that’s become a symbol of foreign intervention.
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October 13, 2021
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Takeover: How We Occupied a Hospital and Changed Public Health Care | Op-Docs
On July 14, 1970, members of the Young Lords occupied Lincoln Hospital in the South Bronx — known locally as “the Butcher Shop.” A group of activists, many of them in their late teens and early 20s, barricaded themselves inside the facility, demanding safer and more accessible health care for the community.
Originally a Chicago-based street gang, the Young Lords turned to community activism, inspired by the Black Panthers and by student movements in Puerto Rico. A Young Lords chapter in New York soon formed, agitating for community control of institutions and land, as well as self-determination for Puerto Rico. Their tactics included direct action and occupations that highlighted institutional failures.
Through archival footage, re-enactments and contemporary interviews, Emma Francis-Snyder's "Takeover" shines a light on the Young Lords’ resistance movement and their fight for human rights. The dramatic takeover of Lincoln Hospital led to one of the first Patient’s Bill of Rights, changing patients’ relationship with hospitals and doctors nationwide.
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October 11, 2021
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Watch Daniel Craig in Action in ‘No Time to Die’ | Anatomy of a Scene
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October 08, 2021
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Meet a Young Tony Soprano in ‘The Many Saints of Newark’ | Anatomy of a Scene
While the “Sopranos” movie prequel “The Many Saints of Newark” (in theaters and on HBO Max) contains plenty of action, betrayals and all that you would expect from a mob drama based on the HBO series, a no-frills scene involving a bedroom conversation is a favorite of the film’s director, Alan Taylor.
That interlude takes place in the room of a young Tony Soprano (here played by William Ludwig), who has been suspended for running a numbers game at school. His mother has sent his (sort of) uncle, Dickie Moltisanti (Alessandro Nivola), up to have a chat with him and try to set him on the right path.
“I try to be good,” Tony says.
“I don’t think so. Try harder,” Dickie responds.
Narrating the scene, Taylor, says that the moment isn’t just a typical domestic chat.
“It’s two guys sitting on a bed talking,” he says, “but it really contains the entire relationship and the entire destiny of Tony’s character.”
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October 01, 2021
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In a Galaxy Far, Far Away, I Was Almost Anakin Skywalker | 'Almost Famous' by Op-Docs
It was the late 1990s, and 3,000 young actors around the world were scouted for the role of a lifetime. On the ride home from school, Devon Michael’s mom told him he’d be auditioning for one of the most anticipated movies ever. “The Phantom Menace” — then the next installment of the “Star Wars” franchise — was in production, and they were searching for young Anakin Skywalker.
Growing up, Michael had small roles in commercials, television shows and movies. At 9 years old, he understood that an opportunity like “Star Wars” could change his life. From 3,000, the producers narrowed it down to three, and soon Michael was at Skywalker Ranch doing a test screen with George Lucas and Natalie Portman. The role ultimately went to Jake Lloyd, who experienced a level of criticism and bullying that would be alarming for even an adult actor. In Ben Proudfoot's "The Unchosen One," Michael shares his experience as a child actor and urges the public not to forget that they’re just kids.
See more of "Almost Famous:" https://youtube.com/playlist?list=PL4CGYNsoW2iALgt6KRyVQYSEoNFTaHKzo
Credits
Director: Ben Proudfoot
Editor: Minh Hieu Bui
Featuring: Devon Michael
Producers: Elizabeth Brooke, Abby Lynn Kang Davis, Gabriel Berk Godoi, Ben Proudfoot, Brandon Somerhalder, Sarah Stewart
Co-Producer: Jeremy Lambert
Cinematographer: Byron Kopman
Original Score Composed and Orchestrated by: Nicholas Jacobson-Larson
Supervising Sound Editor and Re-Recording Mixer: Sean Higgins
Colorist: Stephen Derluguian
Post Production Supervisor: Dillon Brown and Laura Carlson
Cultural Consultant: David Faddis
Assistant Editor: Cody Wilson
Sound Designer: Tom Boykin
Additional Music: Erik Kertes
Musicians: Nicholas Jacobson-Larson, Erik Kertes, Garth Neustadter, Saxophone Greg Agid
Vocals: Loren Battley
Story Reported by: Dillon Brown
Consulting Cinematographer: Brandon Somerhalder
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September 28, 2021
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The U.S. Military Said It Was an ISIS Safe House. We Found a Family Home. | Visual Investigations
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Even as the military apologized for killing 10 civilians by mistake in a drone strike in Kabul, it insisted its target had stopped by an ISIS “safe house.” The Times found that the building was actually home to an NGO worker and his family.
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September 28, 2021
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Watch Ben Platt Perform in ‘Dear Evan Hansen’ | Anatomy of a Scene
Adapting the Broadway musical “Dear Evan Hansen” for the big screen gave the director Stephen Chbosky an opportunity to interpret some of the show’s themes in fresh visual ways.
In this sequence, the lead character Evan Hansen (Ben Platt) is struggling with anxiety on his first day of school. He sings one of the show’s signature songs, “Waving Through a Window,” as he walks the hallways. But the sequence isn’t choreographed or performed like a traditional musical.
“What is distinct about the scene,” Chbosky said, “is that if you look at what’s actually happening, even though he is singing, what the singing in this moment represents is a thought in his head.” So the character isn’t so much bursting into song as he is thinking into song.
Rather than “High School Musical”-style moves, Chbosky and his team instead went for a kind of visual choreography. That involved locker slams to the beat of the music and some quick cuts to represent Evan’s feelings of being both overwhelmed and ignored.
“It was really choreographed to his emotions,” Chbosky said. “That was always the main thing. Where is he living? What does this mean? How does it affect him emotionally?”
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September 24, 2021
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The Death Cleaner: Cleaning Up After Death Is His Business | Op-Docs
Death is Donovan Tavera’s business. For nearly 20 years, Tavera has been a forensic cleaner in Mexico City, providing families of the deceased with the solace of a clean home. For mourning families, his services become integral to their healing process. Louise Monlaü's "The Death Cleaner," filmed before the pandemic, considers what it means to wash away what’s left after someone dies.
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September 16, 2021
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Watch Jessica Chastain Take a Stand in ‘The Eyes of Tammy Faye’ | Anatomy of a Scene
An outdoor barbecue turns into a forum for uncomfortable debate in this scene from “The Eyes of Tammy Faye.” The film, which chronicles the rise and fall of the televangelist couple Jim and Tammy Faye Bakker, stars Andrew Garfield and Jessica Chastain in the lead roles.
This sequence, which occurs as Jim and Tammy Faye are becoming more popular on the Christian Broadcasting Network, involves a gathering thrown by that network’s head, Pat Robertson (Gabriel Olds). Jim is at a table with Robertson and other leaders in the televangelism world, including Jimmy Swaggart (Jay Huguley) and Jerry Falwell (Vincent D’Onofrio).
Tammy Faye is initially seated at another table with the wives, but decides the conversation seems more interesting at the men’s table and makes her way over, with not much subtlety, to join them.
“I wanted to show the extent to which Tammy is trying to operate and be seen and heard in a man’s world,” Michael Showalter said.
He did that with audio cues along with visual ones. When Tammy Faye drags a seat over to the table, the chair scraping across the floor is so loud, people stop to look. “We amplified the sound of the napkin on her lap and the silverware,” Showalter said. “Everything that she’s doing is disrupting this kind of insular boys’ club thing that they’re all having with each other.”
The intention was to show how disruptive Tammy Faye’s behavior seemed to people, but to also shine a light on a person who was always breaking the norms. A discussion between Falwell and Tammy Faye involves his view about the need to fight against “the liberal agenda, feminist agenda, homosexual agenda.” Tammy Faye disagrees.
“I love our country,” she replies, “but America is for them, too.”
“The central conflict that is ignited in this scene between her and Jerry Falwell ends up being the central theme of Tammy Faye’s arc throughout the entire film,” Showalter said.
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September 17, 2021
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