![]() As we were building it, I was constantly talking to Ethan about where the windows should be, and where the bed should be in relation to the windows, and which side of the tree house we should favor windows on, and which should be the negative side, the darker side of the treehouse, based on where the sun was going to be and the position of the tree house on this point that we had built. We built this tree house up on the back property of this small studio in Louisiana, and it was something from the very beginning that I was so excited about shooting. What was your philosophy to accomplish that while keeping the style fluid?Ĭosens: The tree house in the woods, even in the original script, or when Ethan talked about the film, was about how this love relationship developed in this tree house. NFS: A big part of the film is about the light and dark of the artist and a lot of the film’s look goes between lightness and darkness. "He sent me this stream-of-consciousness, kind of rambling piece of poetry, narrative script all combined into one." So, for me, I was like, "Yeah, bring it!" I was game to work that way, and it was exciting and wonderful from day one. Not too many directors actually like to work that way. It was really just about being open and intuitive, and everything that Ethan likes to do, and it was something that I realized, "This is what I need to just embrace." I knew I was going to use a lot of natural light and practicals so that I could be fluid and move around if all of a sudden things changed and we ended up shooting on the other side of the room. NFS: After getting this initial poem-like script (and hearing that he wanted this jazz improvisation approach) how did you interpret what that would mean for you in terms of cinematography?Ĭosens: I knew that I was just going to be going in there and would have to be flexible and fluid, to not hold onto preconceived ideas about what the shape of any scene could or should be. That was kind of the birth of it and the style that Ethan wanted from the beginning. We chose our sets and we were careful about the locations, but once we got in there, we played, and let the actors do what they wanted to do and experiment that way too. He wanted to go into it with a looser form and to film it in the way like you would approach jazz. Ethan had said fairly early on is that he wanted it to be improvisational, that he was going to be using non-actors with some more experienced actors. That's the way the script always existed, within this kind of loose form. ![]() And I was like, “Oh my God, yes, I have to do this!” When he reached out to me to shoot BLAZE, he sent me this stream-of-consciousness, kind of rambling piece of poetry/narrative script all combined into one. Steve Cosens: I had shot Born to be Blue with him and we had formed a friendship making that film. No Film School: When Ethan Hawke approached you about this project, what kind of conversations did you have regarding the look and the feel of it?
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