All language subtitles for Module 34

And now let's look at the

roommate's dance number from La La Land.

Okay.

The number starts.

Right here.

There's a cut in there.

Why are we allowed to shift?

And in some ways, there. There are.

This is amazing. Camera choreography.

There's fewer transitions
than you would think in some ways.

Beautiful camerawork
by the by the by Lina Sandgren

and his crew.

And there's another transition

coming up here.

Through the archway.

There's a transition right here.

We now are in a different take.

And a lot of this, Damien,
really believes in

doing a lot of what he can in camera,
the choreography, the camera movements.

He likes it in camera.

But he does believe in enhancing it
with little digital things.

So, for example,

the glitter that's thrown in the air
that's digitally enhanced, there's more

there's more particles that are
being thrown up that were added digitally.

And I should say also

when we start combining
different takes and pieces,

sometimes
even though there is a prerecorded track

that all of them are choreographed to
and singing to, you find that it's

very hard to put those pieces together,
that sometimes the sync is off.

And Damian is so precise
about about certain

bits of choreography
hitting at the right place in the music.

And so that meant that we had to do

a lot of playing around
with the speed of the picture.

We couldn't
change the speed of the music as easily

because then you would hear that

so often we were speeding up
or slowing down pieces of the picture

in order to match the sync
the way we wanted to.

And part of that, again, is, is

either improving what they did on set.

In other words, they did a very good job
lip syncing or with their choreography.

But we're just trying to perfected
because Damien is such a perfectionist.

And then also some of that has to do
with sweat mixing

and matching different takes.

So here,

over here, the when we transition

through the doorway, there is a slow down
and there are other effects

like that, speed effects
throughout the sequence.

And sometimes those are difficult to do

because they don't always look good.

And coming up

is the first major change
we did from the script.

This shot here, we slowed down.

You can see it a little bit
with our hands.

This here is very different
from the concept.

So basically what used to happen

in the original concept
is that the three roommates.

Leave.

They go outside
and the camera used to pan with them

through a window and follow them outside
into the courtyard.

So the camera follows them into yet
another piece

that we digitally
were supposed to stick to.

And the three roommates

walk downstairs and dance through.

A courtyard of the apartment.

And when they finish dancing,
they turn around.

And Emma Stone has followed them

now changed in a blue dress.

But the problem we had with that section

was very similar to the problem
we had with the traffic scene.

Any time we had a long musical stretch
where Ryan Gosling wasn't in it

or Emma Stone was not in it,
it seemed to be superfluous.

It seemed to be

without emotional point.

As soon as we started
just playing a musical number

without our main characters in it,
it didn't make as much sense.

So we had to find a way
to get rid of that piece.

And that was one of our big challenges.

We were able to do that
by cutting to this shot here.

Instead of going continuing
with the roommates, we cut to the next

shot right here of Emma Stone

laying down on her bed,

being very thoughtful.

We move in honor.

She's thinking
she's not going with a roommate.

She's decided not to go.

We stand her face.

And we see that there's a change.

She's changed her mind.

We cut outside,
and now she appears with the dress.

Well,

you can see what I'm describing
that the roommates

had walked through originally
had walked through this courtyard.

The camera had followed them
through the courtyard originally.

That's a section we cut out.

So we were able to join the two pieces
together.

We're able to do that
because we had this piece,

this piece here.

Originally did not go there.

That piece of her laying down on the bed.

It basically was from this spot here.

So. What used to proceed,

the knocking on the door and the roommate,

Emma Stone, had been laying on the bed

and the thing that she turns
to get up to do,

instead of making that decision
to go out with a roommate.

What she originally did was
she made this decision to answer the door

to talk to her roommate.

So there was a peace that we had
that was intended for something else

that we were able to use later.

As a transition.

And we needed it the time we wanted it.

We wanted it to time out
a certain way with the music.

So somewhere in the middle
here we do a morph

to remove some timing

so that we could get to this transition
more quickly.

So there's a transition here to save time

so that we could get to
this moment of her turning.

And now we cut back to.

A romance.

And again.

I can't remember what take this is
if this is take this could be take ten.

It could be take 20.

But now we get into another.

Now we're into an unbroken piece.

And again, this does what Damien
Chazelle wanted to do film on real streets

for the most part, on real locations,
but light it in a fantastic way.

The lighting in the background
is is enhanced

with some lights,
but the sky is the actual sky.

It's not digitally enhanced.

That's the real sky.

And it's because of the way
that Lina Sandgren

and the crew work
to film with natural light.

A lot of natural light,

but sometimes an enhanced
and filled in with with movie lights.

This is actually, in effect,
the sky and Lina's shot several different

sky plates
and this is composited into the buildings.

So the sky is something that is it's
not a matte painting.

It's a real sky,
but it's just from a different take.