The thrill of the chase was no longer enough, a scoop was needed to sell publications to get the right picture was expensive business. Over time it was these secretive and increasingly scandalous images that made the front pages. He only stopped when Ekberg emerged from her home with a bow and arrow and shot him in the hand, an exchange that made headlines all on its own.
MARILYN MONROE PAPARAZZI PHOTOS MOVIE
Quinto snapped her kissing a married movie producer at a nightclub in Rome, and – a true paparazzo – didn’t stop there, but followed Ekberg back to her door in the early hours of the morning. We really wanted a humanness, and in my view, that human touch is less than perfect.In 1960 fact and fiction would collide when Anita Ekberg, the blonde screen siren playing Fellini’s paparazzi-hounded star, became a real-life target. Even in those sequences that had more of an intention, a lot of the film was completely intuitive. “I had seen the reflection in the glass as we were rehearsing, so I asked my key grip to prepare a door mount.
“When they’re pulling up in the limousine and the camera tracks with the mob and cuts to a single of Marilyn looking out the window, that single was a gift,” Irvin said.
Irvin also allowed room for surprises in scenes that had to be more preconceived for logistical reasons, like movie premiere sequences that required hundreds of extras. I felt that if I created a structure, I would create that stability and I wanted to violate that.” I was trying to make it feel structureless because Marilyn always had this need for stability and love in her life, but she could never find it. “I wasn’t trying to apply a specific structure. “Blonde” was an even more intuitive film than usual for Irvin given the instability at the center of the film and its lead character.
And then once I get the core of that event clear, usually the ideas just come to me very naturally.” “Blonde” screenshot/Netflix I almost think of them entirely as events. I really abstain from that kind of thinking. When I think of scenes, I don’t think of them in terms of shots. If that’s denied in any way, then it fails to penetrate the spectator. I’m often using geometric shapes and lines and negative space and various rules, but the image in cinematography only radiates outward from the humanity of the moment that’s being expressed. “My primary function is to create a window for the spectator to travel into the story. “The composition has to have harmony with what’s happening emotionally,” he said. Irvin stressed, however, that all of the experimentation was at the service of the actors, particularly Ana de Armas, whose performance as Marilyn anchors the entire film. So I had the image in front of me printed onto a card, and I would look at it and then I would place the camera and try to create that same geometry within the frame.” “I was using the same focal lengths - I didn’t know exactly, but I was guessing what they could be - and we were shooting in a lot of the real locations where those images were taken. Whenever he used actual photos or footage of Monroe as reference points - as in the scenes depicting her with her celebrity husbands - Irvin was rigorous about recreating the compositions. That said, one of the most striking aspects of “Blonde” is the way it replicates images we’re all familiar with to create an eerie sense of cinematic déjà vu, and the accuracy of the recreations intersects with the film’s more nightmarish expressionism to yield truly unique effects.
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