In Jason Reitman’s films, dialogue is often the engine that drives a scene. That is certainly the case with “The Front Runner,” which follows Gary Hart’s tumultuous three-week presidential campaign in 1988, but he also wanted it to sound like like a 1970s film. Specifically, the political dramas like “All The President’s Men” and “The Candidate,” and the long-take, multi-character films of director Robert Altman (“Nashville”).
As cinematographer Eric Steelberg’s camera wove through the ensemble cast, Reitman wanted to enter and exit various conversations and feel the commotion behind the scenes.
“He wanted to hear everybody all the time in the sense [of the] normal life of a political campaign, where everybody’s just talking and working all at once,” said sound mixer Steve Morrow. “Depending on who the camera is focused on is who you’re hearing and understanding what they’re saying.”
Morrow, whose three-person team was responsible for mic’ing,...
As cinematographer Eric Steelberg’s camera wove through the ensemble cast, Reitman wanted to enter and exit various conversations and feel the commotion behind the scenes.
“He wanted to hear everybody all the time in the sense [of the] normal life of a political campaign, where everybody’s just talking and working all at once,” said sound mixer Steve Morrow. “Depending on who the camera is focused on is who you’re hearing and understanding what they’re saying.”
Morrow, whose three-person team was responsible for mic’ing,...
- 11/9/2018
- by Chris O'Falt
- Indiewire
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