pixwords scenes boy shotting arrow at campfire

Pixwords scenes boy shotting arrow at campfire movie#

'We started this in ‘02, and I was like, ‘You know, we’re going to shoot 35mm negative. Shooting over such a long timespan also brought technological considerations to the forefront, as Linklater found himself racing against the demise of film as a shooting format. While the original plan had been for overt shifts as the film leapt from one year to the next, they ended up on the cutting room floor, resulting in one seamless ride throughout Mason’s life. 'In the end, it’s pretty unique to have ten years to think about a shot,' he said, noting that transitions had been a particular area of focus. It gave him the rare chance to reconsider creative decisions years after the fact. 'Every year we’d spend a few weeks editing that episode, and then as we went on we would attach it to the episode from before,' he said. The yearly shoots typically ran between three to four days, after which Linklater and editor Sandra Adair would go to work.

Pixwords scenes boy shotting arrow at campfire movie#

'I knew the last shot of the movie by year two,' he said, 'but the details of it were in flux and pretty open to whatever came up.' It was a similar process to what Linklater used in the Before Sunrise series, giving him the flexibility to incorporate any ideas that the actors brought to the table. 'The architecture was kinda there,' he said, but the script itself was a collaborative process, with the actors and director workshopping various scenes before cameras ever rolled. The project eventually found support at IFC Films, and moved forward with a broad blueprint of the story Linklater wanted to tell.

'I knew the last shot of the movie by year two.' Linklater pitched the concept to some producers he was working with, who had the same reaction most people would: shooting a movie about children over such a long period of time wasn’t feasible or realistic. 'And so I just got this eureka moment of, ‘Well, why couldn’t you just film a little bit, and encompass all of it?’' His frequent collaborator Hawke was the first actor on board, but logistical concerns and financing were another matter. 'I wanted to do something about childhood,' Linklater told the audience in a post-screening panel, but he found he didn’t have enough to say about any one single phase of growing up. Richard Linklater and the cast of Boyhood Funny and evocative, the finished product is a truly unique look at the evolution of a family, and to hear the director and cast talk about the process, getting to the finish line wasn’t easy. Sequels and documentaries have caught up with people long after audiences have first met them, but a narrative film has never really attempted this sort of real-time examination of someone’s life before. Each subsequent year they shot another sequence, continuing on until production finally wrapped last October: the same actors playing the same roles, aging in sync with their characters. Starting in 2002, he assembled his cast - Ethan Hawke and Patricia Arquette star as the boy’s parents, while Linklater’s daughter Lorelei plays Mason’s sister - to shoot one section of the film.

Festival audiences are used to seeing premieres of highly anticipated new films, but the energy in the Eccles Theatre was at a higher pitch than usual - and the director of Dazed and Confused and A Scanner Darkly was ready to unveil the most ambitious project he’d ever taken on.īoyhood tells the story of a boy named Mason (Ellar Coltrane) as he grows from a six-year-old to a college freshman, and rather than relying on makeup, casting, or CG trickery, Linklater actually shot the film over 12 years. “I don’t know what to say about the film, except 4,207 days ago we started shooting this film and we’re really happy to be here.” It was Sunday night, and director Richard Linklater was addressing a sold-out Sundance audience for the debut of his latest project, Boyhood.