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There are several numbers where we feel their environment shifted visually to correlate and show where they are emotionally,” she said.Įxamples of those include “96,000,” “Paciencia y Fe,” and “When the Sun Goes Down,” a striking sequence where Nina (Leslie Grace) and Benny (Corey Hawkins) dance on the side of a building. Many of the songs start very intimate and close and then grow.
ALICE BROOKES REDDIT MOVIE
“What’s unique to our movie is that each character can express their hopes and their dreams, their fears and their anxieties, not only through song and dance, but also through their environment. Once they went wide, these same tools provided larger-than-life movie magic To that end, the equipment package Brooks utilized included customized anamorphic lenses to add a sense of intimacy to shots where the camera focuses on one or two characters with everything around them falling away.
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Inspired by the real locations, the objective was to keep the story grounded. He redid everything to make it feel like Abuela’s apartment.” The production designer (Nelson Coates) went in and added two walls. “It was very modern when we walked in, but it had everything else we needed.
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“That apartment is only 15 feet wide by 40 feet long with two windows on either side,” said Brooks. But they took the plunge and in the end three musical numbers were executed there: “Alabanza,” the single-take “Champagne,” and a part of “Blackout.” It’s the heart of the community,” she said.Īs filmmakers, nonetheless, they knew the technical implications of shooting in such a limited space. You can see the entire intersection from the window. We knew it was Abuela and Usnavi’s apartment. Right at the intersection of 175th Street and Audubon, where the fictional narrative unfolds, the production had found an apartment that could perfectly serve as the home of Abuela Claudia (Olga Merediz), the community’s matriarch. But during that gestation period, a major turning point changed the course of the production. At that point, the guiding idea was for them to shoot partially on location and then finish the majority of the scenes on sets built on a soundstage. Chu filming on locationīrooks arrived in New York at the end of March 2019 to start a 10-week prep period. “In the Heights” DoP Alice Brooks and director Jon M. And so when Jon did eventually ask me to shoot the movie, I had lots of references.” Locations Over Convenience “I started pulling all those images for almost three years. “That’s the way I felt about ‘In the Heights.’ It is a much bigger beast than anything I’ve ever worked on before, but the collaboration is all the same.”Īs soon as she heard Chu was attached to “In the Heights” (and before she was offered a job on it), Brooks preemptively started compiling ideas for the visualization of the story. “We still are doing the exact same thing we did on that short film at USC,” Brooks told IndieWire in a recent interview.
ALICE BROOKES REDDIT SERIES
'A Love Song' Review: Dale Dickey and Wes Studi Lead a Micro-Budget Romance in NomadlandĤ5 Directors Pick Favorite Horror Movies: Bong Joon Ho, Tarantino, del Toro and MoreĢ021 Emmy Predictions: Who Will Win at the Primetime Emmy Awards?īrooks and Chu honed their collaboration with other musically themed projects, most notably the feature “Jem and the Holograms” and the reality TV series “The Legion of Extraordinary Dancers.” Both of those credits also included choreographer Christopher Scott, the man behind the dance moves in the “In the Heights” film. 'Emergency' Review: Carey Williams' Raucous and Wise College Comedy Upends the Genre