As Augie is on the best way to Asteroid Metropolis along with his kids, his automotive breaks down—and he decides to then name his father-in-law, Stanley, introducing Tom Hanks to the movie. It’s a basic split-screen set-up from Anderson, who employs the format often and shoots it accordingly.
Wes Anderson: I all the time liked split-screen pictures. I like how Brian De Palma, for example, made break up display screen. He reinvented what you are able to do with it, or invented, anyway, a number of the concepts of how you can use break up display screen. However the concept of utilizing split-screen for a phone name is fairly old style. I would not be shocked if we might—the truth is, we are able to discover examples of that every one the best way again to the ’30s and doubtless even from silent cinema, however definitely within the late ’50s and the ’60s it turned a routine factor. Then possibly it’s dropped as a result of it turns into too acquainted, however I prefer it and I like the truth that you possibly can present each ends of the phone line and play an extended take and you’ll see the individuals listening. It appealed to me.
Robert Yeoman: As a result of we have been taking pictures anamorphic, and I needed to function the Jason shot fairly a bit with the vehicles coming by, to seek out that body on a fast pan like that I simply put a chunk of tape on the skin of the lens. I might delineate precisely the place the body was as a result of I knew that they’d be comped later in publish. And that the home the place Tom Hanks is standing was truly a construction that we constructed, as a result of we have been taking pictures in Chinchon, Spain, and we preferred to get issues as shut as doable to the place we have been staying. They discovered a little bit golf course very near us.
Anderson: Tom Hanks additionally, sure, he will get an entrance there. We do fairly a bit with it. We’re swirling round 360 levels on Jason’s facet of the scene with this police chase occurring, and Tom Hanks has an entrance from outdoors on the golf course all the best way round and as much as the digital camera.
Yeoman: Wes initially got here to me and he mentioned his idea was to shoot every thing in Asteroid Metropolis with pure gentle—so no film lights. We constructed these buildings with the skylights that we might management a little bit bit with silks, in order that we would not have to make use of any film lights. It was a problem for me.