![]() ![]() Usually you’re there for reasons that are technical, or maybe have to do with performance. It’s really rare to be able to do something like this in ADR. And if it still didn’t work, we would sometimes tweak the picture so that it did. Joaquin would do something new if it didn’t fit. MN: But then you had to go edit all of the new material back into a movie that was made with a different performance in mind, no?ĮZ: We did. ![]() Scarlett wasn’t trying to repeat a performance that had been done months before. When we were in ADR the dialogue was tweaked substantially. MN: It’s kind of amazing that in the end it all fits together so seamlessly given that you were basically inserting a new performance.īEST MOVIES OF 2013: Turan | Sharkey | OlsenĮZ: Part of the reason I think it’s successful, besides that Scarlett’s a great actress and Spike’s a great director, is that Spike was constantly rewriting the Samantha character. So Scarlett would be in this soundproof booth, and sometimes Spike would stand just inches from her directing. How did that work?ĮZ: Scarlett began coming in, working around her schedule shooting “Captain America.” And Joaquin would come down whenever we needed him or to read with Scarlett or to act with her. MN: Then of course there’s the other big postproduction challenge - Scarlett Johansson coming in to do the voice part that Samantha Morton initially shot. It’s much better if everyone imagines Samantha for themselves. What we took away from some of the reactions from people we showed the footage to is that it makes the movie smaller. But in the end it felt like people didn’t want to see a physical representation of Samantha. EZ: In the edit room we played with all of these things for months, and it was very interesting. ![]()
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