We spoke to Robert Yeoman, the filmmaker's longtime collaborator, about Asteroid City, the evolution of an aesthetic, and social media homages
There are better places to be a cinematographer than Chinchòn, a small town outside Madrid. Robert Yeoman found this out the hot, sweaty way while working on“I'm always trying to shoot everything early morning or late afternoon when the light's really beautiful and try to avoid that harsh noonday sun. I think Wes was eager to just say, 'Okay, let's just embrace that this light's kind of harsh and make that part of our film'.
But as tends to happen when you’ve been working with Wes Anderson for 11 movies and 27 years, as Yeoman has, he came around to Anderson’s thinking. “Once we started doing it I would really love it," the 72-year-old tells me over Zoom, a week ahead of the film's release. "I understood what he was going for”.
The Anderson process is “like painting a painting, in a way”: move that prop just so, pull out some more details in the set, find a nod to an obscure film. “It just comes outta him, ultimately. He's the conductor and we're the instruments.” We spoke to the veteran cinematographer about his latest project, as well the recent rise in social media tributes to his buddy, Wes.There's a scene where Jeffrey Wright is giving a speech. Wes was eager to do it all in one shot, he [Wright] walks to one end of the stage and the other. So we had to make a track that would go sideways and in and out – typically you might use a steadicam or a technocrane to do a shot like that.
Well, one thing we always do is if we’re in a room, we find the centre. We carefully tape it out so we know we're in the centre. Wes, when he shows up, one of the first things he'll ask is, “Are we centred?” So that symmetry is obviously a very important thing to his style. It’s very fashionable to shoot with a very shallow depth of field, but with Wes, it's just the opposite. He wants everything in focus.
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