filmmaker magazine posted a great article about the one shot we attempted in colorless green.
even after stripping down the red one as much as possible, it still proved to be quite a work out, but in the end, it’s my opinion that the weight really helped with the fluidity of the shot.
“Hey Ryan, can we talk about the scene we’re shooting tomorrow?”
Casey Wilson, the director of photography, was sitting off to the side of the football field when he called me over. We were waiting for the sun to go down so we could get a shot of a football game at magic hour for the opening of my new movie, Colorless Green. It was the first moment all day we’d had to talk about the next day’s work.
“What do you think about doing it all in one shot?”
I could feel my eyes narrow. For the next two days, we were supposed to be shooting a critical scene in the middle of the film where the main character breaks into a house. It was a complex setup to begin with, but to make matters more difficult, we had multiple police officers in the scene (who were to be played by actual Salt Lake Unified Police Officers). Not to mention the fact that we were talking about covering 12 pages in this one sequence.
“Would that work?” I asked, wondering if sleep deprivation was a factor in what seemed to be a ludicrous idea.