If something landed in a place that wasn’t thought of beforehand or wasn’t in the script, let’s just go with it and see what happens and build off of that. It was Reza’s idea to let them just go with it. And kind of just letting it happen in a lot of ways, which isn’t something we normally do either. So yeah, longer rehearsals involving the camera and then shooting it. It became a dance with the camera crew of, “What’s going to be the movement once they’re inside the space?” And resetting all of the junk that goes flying around and how that’s going to play became part of that. But they gathered these four actors together and did rehearsals in the couple of days before production. We don’t usually rehearse an episode shoot. That’s another thing that was atypical for us. Was there more rehearsal than for a regular episode?
It’s lots more dialogue than what we would typically do. So Michael Gilvary, who’s one of our head writers, had the idea of doing it in a service elevator inside a self-storage facility, and we thought OK, if we can get two other actors and David Eigenberg and Joe Minoso - they’re so compelling as actors - and let’s write longer scenes. It became a writers room challenge - how could we do a new version of a bottle episode? We’ve never really done an episode that’s almost all in one place. We got the word - is there any way we could ameliorate the expense? We don’t do a lot of bottle episodes, and in fact our bottle episodes usually end up costing more than other episodes because they end up being so action-heavy within whatever location we’re at, and we have giant set builds, so they don’t end up saving us money.
We had broken the first eight episodes and started the process of production, and then we realized this season is really expensive because of COVID. We had a very atypical year where we started in September instead of July. How did the idea to shoot this way come about? Was it your intention from the time you wrote it? They’re great at playing to the small screen and to the theater. David and Joe are both Chicago theater guys, so that’s part of why we got excited about writing this particular episode and putting these two characters in there. It was like 28 minutes, which is crazy for us.
BOTTLE EPISODE HOW TO
He started as a camera operator and is excellent at knowing where to put cameras and how to move them. Reza Tabrizi, the director of this episode, is our producing director and has been on the show from the jump. We rarely use GoPros, and again only if we’re doing a big stunt. We’ll sometimes have more if we’re doing a giant stunt. What is that process usually like, in terms the number of cameras you have running? But it was a way different process than what we usually do. And we would do multiple takes of the scene so we could push in closer and things like that. We had three cameras going and six GoPros inside the set. We did acts two and three together, so we’d have these takes that were 25 minutes long, where typically it’s three or four minutes. Because we wanted the performances to be as raw and as tight as possible, we had the actors learn the acts like it was a play. … The challenge of this episode was to do essentially five acts inside a service elevator. In a usual Chicago Fire episode, in one act we’ll have seven or eight different scenes. This doesn’t look any different from a typical episode - there aren’t any long, unbroken shots from these extended takes.
Haas broke down the process of filming “My Lucky Day” with THR. But Haas said the method of shooting was something of a revelation: “If people respond to it and they really like it, there’s going to be a call to do more of them.” The editing and camera work will be familiar to viewers. “Our bottle episodes usually end up costing more than other episodes because they end up being so action-heavy within whatever location we’re at, and we have giant set builds,” Haas, Chicago Fire‘s co-creator and showrunner, told The Hollywood Reporter.Īside from the single set, the finished product - in which Herrmann (Eigenberg) and Cruz (Minoso) are trapped in a freight elevator with two civilians (Buzan and King) and cut off from the rest of the crew battling a fire in a storage facility - looks like a typical episode of the series. 'Chicago Fire' Stops Production After Shooting Near Set
0 kommentar(er)
