Shooting the Impossible for Wes Anderson’s ‘The French Dispatch’
variety.comWill Tizard ContributorRobert Yeoman’s camerawork has been an inseparable element of Wes Anderson’s distinctive style since the dawn of the director’s career in 1996 with “Bottle Rocket” – but his new fantasy farce, “The French Dispatch,” brought the duo to new heights.“It’s how we work,” says Yeoman simply, describing new combinations of quick-change tracks for Anderson’s signature nimble dolly shots and an embrace of more black-and-white filming for the new anthology film.“Not only do we have moves where we go sideways, but we go in and out,” says Yeoman, “and Wes is so precise on what the framing is that if we tried doing it with a Technocrane or a Steadicam we would never get that precision.” Originally considered just for the story of.
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