1500-1502

Chapter 1500: Camera Choreography 

“Have you seen The French Connection?” Anson asked. 

Alfonso lit up. “Of course!” 

The French Connection—winner of five Oscars at the 44th Academy Awards, including Best Picture, Best Director, Best Actor, Best Adapted Screenplay, and Best Editing, beating out A Clockwork Orange. It’s a legend in film history. 

From the title alone, you might think it’s some artsy piece. Nope—it’s a classic cop thriller. 

The movie pioneered jaw-dropping tracking and chase scenes, all shot with handheld cameras, real-time footage, fast cuts, and dynamic zooms to create a raw, immersive, heart-pounding vibe. Tension spills over every frame. 

For younger folks, everyone knows The Bourne Identity for its handheld chaos and rapid editing, but it’s really just scratching the surface of what The French Connection did back in 1971. That film’s still a must-watch in film school breakdowns. 

With one mention, Alfonso’s eyes sparked. “You mean…” 

Anson nodded firmly. “We need to pull off something like that.” 

“There’s this car chase in the movie—I think we should shoot it from a first-person view, handheld, up close, 360 degrees of chaos and danger. It’s not just about putting the audience in the driver’s seat for a life-or-death rush. We want their adrenaline pumping.” 

Before he could finish, Alfonso was already jogging to his desk. He shoved aside a cereal box and milk carton, grabbing his notebook to show Anson. 

“I’ve been thinking about how to shoot this exact scene,” Alfonso said. 

Anson leaned in. “It’s not just the camera. We’ve got to map out the chase vehicles’ paths, the extras’ movements—everything. The camera spinning in that tight car interior can give us a killer immersive feel, but that’s not enough.” 

“I’m thinking we track the camera’s movement and throw in constant crashes, maybe a motorcycle cutting in, or sniper shots—total mayhem. But we tie it all together with pure camera work.” 

“Is… that even possible?” 

Anson was an actor, after all. His grasp of cinematography and directing was surface-level, mostly theoretical. His words carried a hint of doubt. 

In his past life, Children of Men had that iconic long take inside a cramped car during a chase—a seamless, breathtaking moment that stunned everyone. 

Now, Anson wanted to crank up the difficulty, pushing Alfonso and Emmanuel to their limits. 

Alfonso studied him quietly. “Let’s not worry about ‘possible’ yet. Just lay out the whole sequence—let’s see what we’re up against.” 

Then they could dig in, tweak it, turn the impossible into reality. 

Anson didn’t hesitate. He took the notebook. “So, the car pulls onto this road, and here’s what it’s facing…” 

Back and forth, they dove in, totally focused. 

Pencils scratched across the notebook as Anson and Alfonso traded ideas and dialogue, sketching out the scene like a battlefield simulation. Inspiration and thoughts sparked in the air. 

Until a knock at the door broke their flow. 

Alfonso gestured to Anson, then trotted over and flung the door open. 

“Alfonso, what’s going on?” The visitor launched into rapid-fire Spanish. 

Alfonso didn’t answer—just tugged the guy inside. “Emmanuel, this is Anson. Anson, Emmanuel.” 

Emmanuel blinked at Anson, sitting there in a chair, his brain short-circuiting. He clearly had no clue what was happening. Alfonso had texted him earlier, asking for help with something, checking if he was free. 

Among this crew of Mexican filmmakers, Emmanuel Lubezki was the one killing it in Hollywood. Ten years in, he’d built a rock-solid rep. Offers poured in nonstop—he could pick and choose directors and projects that sparked his interest. 

Naturally, the Mexican crew stuck together. Emmanuel had helped Alfonso get noticed by 20th Century Fox in the first place. They were a tight-knit group grinding it out in Hollywood. 

Recently, Emmanuel had wrapped a shoot and was chilling in LA, prepping to join Terrence Malick’s next project in a month. When he saw Alfonso’s text, he’d come straight over—and now? 

Anson Wood? 

Emmanuel’s head spun. He glanced at Alfonso, switching to Spanish. “Alfonso, what’s this about?” 

Before Alfonso could reply, Anson cut in—also in Spanish, a bit shaky but clear enough. “We’ve hit some technical snags. Need a cinematographer’s expert take.” 

Emmanuel froze. 

Alfonso was already dragging him to the desk, thrusting the notebook at him. “We’re working on a one-shot chase scene.” 

“Inspired by The French Connection,” Anson added. 

That hooked Emmanuel instantly. He zeroed in on the notebook. “So, handheld and cuts?” 

“We want a long take to mimic that vibe,” Anson clarified. 

Emmanuel raised an eyebrow. “You’re setting yourselves up for a nightmare.” 

Alfonso grinned. “That’s why we need you.” 

Emmanuel crossed his arms. “Give me a reason.” 

Anson didn’t miss a beat. “We want to drop the audience right into a frontline immersive experience.” 

“Actually, I was just telling Alfonso—we don’t need to flex too hard. We don’t want the audience clocking that it’s a long take, like, ‘Hey, check out this badass shot.’ The trick is weaving that high-skill stuff into the film quietly, building immersion.” 

“Like, take the opening scene. The camera follows the lead’s footsteps into a coffee shop. A TV’s blaring some world-shaking event—everyone’s glued to it, except him.” 

“Then, as he walks out, the place blows up—blood and guts everywhere. We want the audience to feel the gore, the shock, and get sucked into the movie’s world before they even realize it.” 

Alfonso didn’t mind long takes—he loved them—but never for showboating. They had to serve the story, the film, the experience. 

Anson vibed with that and wasn’t about to mess with it. Still, they could level up the immersion. 

Hollywood flicks often toss out a hook within the first three minutes—it’s a standard blockbuster playbook. 

Emmanuel’s brow furrowed. He caught the pattern behind Anson’s words. 

For a top-tier cinematographer like him, his sweet spot was art films—those were the ones chasing pure visual language. Blockbusters? They didn’t care about that. If you’re shooting a genre flick, Emmanuel didn’t think he outshone the pros who lived for clean, efficient storytelling. 

For a commercial gig, they wouldn’t even need him. 

So, what was this? 

Chapter 1501: The Charm of a Character 

Emmanuel didn’t have a problem with commercial genre films—it’s just that they didn’t need him.  

It wasn’t about being too good for them or looking down his nose at popcorn flicks. He just didn’t think his strengths could elevate those kinds of movies. His skills were broad, sure, but they didn’t shine there. The cinematographers who lived and breathed that world could do it better, cleaner, faster.  

Every craft has its specialists, and in cinematography, that’s especially true.  

That’s why, out of the “Mexican trio,” Emmanuel had never worked with Guillermo del Toro, the guy who churned out horror and fantasy.  

They were buddies, of course—Emmanuel had no beef with Guillermo. But collaboration? Never happened. And now, this?  

Emmanuel’s brow creased as he eyed Anson. He had a dozen choice words itching to spill out, but he held back, turning to his friend instead.  

“You’re shooting another Harry Potter and the Prisoner of Azkaban?”  

Alfonso blinked, confused. “No, not at all. I’m working on that project I told you about—Children of Men. Remember all that stuff we talked about?”  

Emmanuel nodded. “Yeah, those crazy technical long takes.”  

“But why add that opening shot? And a handheld chase sequence? That’s straight-up genre movie territory.”  

Alfonso froze.  

Anson jumped in smoothly. “Like The Bourne Identity?”  

Emmanuel shot him a look. “Exactly. It’s Bourne all over again.”  

Anson grinned. “I could tell you it’s about artistic vision—and it is. Alfonso’s going for an Exodus vibe, borrowing from The Passion of the Christ to pull viewers right into the thick of it with an immersive experience.”  

Emmanuel tilted his chin up, catching the subtext. “But?”  

Anson didn’t flinch, rolling with it. “But the real reason’s about market appeal. How do we boost the film’s watchability without touching the script, the structure, the themes, or Alfonso’s style?”  

“It’s about giving a movie with all this potential some commercial legs.”  

“We don’t want another Prisoner of Azkaban situation where Alfonso ends up stuck, right?”  

Emmanuel had to admit—his opinion of Anson shifted a little.  

As a cinematographer, Emmanuel’s job was to capture performances, so he’d always believed acting was the heart of it all.  

But Anson?  

Great face, no question. A killer look. But that’s where it ended—or so he’d thought.  

Makeup artists and designers don’t love classic beauties—too smooth, no edges to work with. Same deal for cinematographers. Traditional good looks often lack big-screen charisma. In the lens, they can turn into soulless Barbie dolls—no spark.  

What the masses drool over isn’t what artists crave, and what pops on the big screen is its own beast entirely.  

Personally, Emmanuel couldn’t care less about Anson. He’d never seen his movies and had no plans to start.  

Seeing him here, out of the blue, wasn’t about “Oh wow, Anson Wood the superstar!” It was more like, “What’s he doing in Alfonso’s apartment?”  

Instinct kicked in, and Emmanuel went on the defensive.  

He knew Alfonso too well—his friend was a pure soul, naive in the best way, all heart when it came to films. But people skills? Not so much.  

One wrong move, and someone could whisk him away.  

But now, Emmanuel realized Anson was actually thinking. He had real ideas about the film’s style and direction. That was rare. Who knew a “pretty face” could have a brain too?  

Still…  

“Man thinks, God laughs.” Thinking’s one thing—what you think is another. Hollywood’s crawling with smooth talkers who sound brilliant on paper but turn out to be hollow inside. It’s not just common—it’s everywhere.  

So Emmanuel stayed wary. “That’s your big plan? Show off with fancy camera tricks?”  

Anson caught the jab and grinned wider. “Nope, not at all.”  

Alfonso sensed the tension and waved his hands frantically. “Emmanuel, you know I hate showing off—it’s dumb. Anson agrees. We’re just designing complex shots to bring out…”  

His explanation didn’t budge Emmanuel’s stare, still locked on Anson. “So what’d you two come up with?”  

Anson met his gaze, unfazed. “Me?”  

Emmanuel: ???  

“Ha!” The sound slipped out before he could stop it. Too shocked, too caught off guard—he hadn’t meant to let it show. But his eyes flickered with a knowing glint.  

Yup, Hollywood’s packed with narcissists. Self-obsessed flowers blooming in every corner, popping up where you least expect them.  

Anson quirked a brow. “Is that contempt in your eyes?”  

Emmanuel: “…I’m not answering that.”  

Anson laughed. “Relax, I don’t bruise that easy. You’re right, but only halfway.”  

“Me and Alfonso think it’s two layers.”  

“First layer: we stick to the lead’s perspective—not full-on first-person, but the camera orbits around me. It shows what I see, what I go through, what I feel. That’s how we tap into what Alfonso’s best at.”  

“Environment.”  

“Alfonso’s always believed people’s struggles come from inside—their own mental chains—but also from outside: society, the world, the setting. In his films, where characters stand in their space, how they connect to it—that’s huge. And that’s where the cinematographer comes in.”  

“But Alfonso’s not trying to be Bergman. So this time, we’re switching it up—using that near-first-person feel to make it immersive.”  

“All while keeping Alfonso’s voice intact and giving audiences something special to latch onto.”  

Emmanuel: …  

Jaw on the floor.  

He’d never imagined an actor could have such a deep take on cinematography—let alone that actor being Anson.  

He shot a glance at Alfonso, his eyes asking: This all came from Anson? You sure it’s not your idea he’s just parroting?  

Alfonso was practically bouncing, hands rubbing together. “It’s all Anson.”  

Anson shrugged modestly. “Just talk, really. I can ramble theories all day—make it sound impressive—but ask me to figure out how to pull it off, and my mind’s a blank slate. Trust me, any hardcore movie buff could do the same. But fans are just fans—they’re not cinematographers or directors. Like how a soccer nut can’t coach the team.”  

Pfft!  

Emmanuel couldn’t hold it in—a laugh nearly burst out of him.  

Chapter 1502: The Actor’s Role 

Pfft! 

Emmanuel couldn’t hold it in, nearly bursting out laughing. He barely reined himself in. “You watch soccer too?” 

Anson shrugged lightly. “Nah, I don’t. That’s how I know fans are all talk, no game—real experience? Pretty much zero.” 

Emmanuel’s eyes crinkled with amusement. “Like movie buffs?” 

Anson nodded. “Exactly. So, I’m just throwing out a concept here. Whether it works or how it fits into the film? Clueless.” 

Alfonso, standing nearby, shook his head. “No, Anson and I were just hashing out some camera movement ideas. We’ve got a few solid possibilities.” 

Anson chimed in, “But we still need a pro’s take.” He gestured toward Emmanuel. 

Emmanuel caught on—his cue to step up. But instead of jumping in, he circled back. “You said there were two layers to this?” 

Anson grinned. “Yeah, the second one’s what you just picked up on.” 

He pointed to himself. “Me.” 

Emmanuel almost rolled his eyes, fighting hard to keep a straight face. 

Anson cracked up but didn’t linger on Emmanuel’s reaction. He got back to business. “Have you read the script?” 

“It’s a serious story, straightforward. Even if we toss in some fancy camera tricks, we can’t let that stuff steal the show. Explosions, chases, shootouts—nope, that’s not the point. And it’s not about Jesus being born either.” 

“Escape,” Alfonso cut in. “That’s the core. Escaping to a promised land, clinging to a shred of hope. That’s what matters.” 

Emmanuel raised an eyebrow. “Exodus?” 

Anson nodded. “Yeah, guarding hope, chasing hope—that’s the heart of it. So, while we need some hooks to grab attention, we can’t let flashy nonsense overshadow the film’s real strength. The author’s voice and the director’s vision are what lift it above assembly-line junk.” 

That applied to both commercial and art films— 

Even art films had their own factory churn. Sundance-style, Oscar-bait movies—plenty of them were just formulaic essays churned out from templates. 

So, any film wanting its own edge, its own color, lived or died by the creator’s voice and the director’s touch. 

Anson shifted gears. “You guys seen Minority Report?” 

Alfonso perked up. “Tom Cruise?” 

Emmanuel zeroed in. “Janusz Kamiński?” 

The latter—Steven Spielberg’s go-to cinematographer, snagging Oscars for Schindler’s List and Saving Private Ryan. 

Emmanuel’s lens was all about the camera, exactly what Anson was banking on. “Yep. I worked with Janusz on Catch Me If You Can. That film and Minority Report have something in common: the cinematographer uses framing and close-ups to amp up the actor’s charisma.” 

“Minority Report’s a dense, tricky sci-fi flick. Back then, it underperformed at the box office because a lot of folks said they couldn’t follow it. Still pulled in $360 million worldwide, though.” 

“Why?” 

“Because Tom Cruise’s charm carried it.” 

Emmanuel finally clicked. “So, you’re saying we need you to play the heartthrob, be Moses, save the world—like Spider-Man?” 

Full throttle, no filter—his words sharp and unapologetic. Anson laughed. “Yes and no.” 

“The ‘no’ part: we’re not building another superhero or savior. Theo isn’t Moses—though Alfonso’s got some ideas there.” 

Anson and Alfonso swapped a glance. They’d talked about a “parting the Red Sea” long take earlier, and the shared memory made them both grin. 

“But no, we’re not spotlighting Theo like that. He’s just one piece of the puzzle.” 

“The ‘yes’ part: not about looking cool, but showing character appeal. A movie needs a draw, a hook—something that gets butts in seats.” 

Emmanuel cut in. “You mean you.” 

Anson didn’t flinch. “Yeah. What’s wrong with that?” 

Emmanuel: … 

He paused, stunned, and realized… he couldn’t argue. 

Anson didn’t gloat. “What I mean is, we need the audience to feel this guy’s pull. He’s a ghost drifting through the city—numb, aimless, coasting through the end of the world, waiting to die. Nothing grabs his attention.” 

“Then his ex-wife Julian drags him into this mess, and bit by bit, he changes. He steps up, taking on her mission to protect the last pregnant girl on Earth.” 

“To others, she might be the Virgin Mary, her kid might be Jesus. But to him, that baby’s the one he lost with Julian—it’s all his old hopes for a family, for life, everything he’s got left to hold onto.” 

“We need the audience to connect with him, to feel his pain and struggle, to step into Alfonso’s world through him.” 

“So, yeah, we showcase his appeal—not as a superhero, but as an ordinary guy. A father, even. By the end, he’s not Moses—just a dad.” 

Back when he left Warner Brothers, Jeff Robinov had said he wouldn’t cry over this story—not like Saving Private Ryan. 

Now, Anson was giving Jeff a reason to tear up, without tweaking the script or diluting Alfonso’s style and voice. 

After that meeting, Anson had mulled it over hard. Why did Children of Men win praise but flop commercially, while I Am Legend raked in cash despite lousy reviews? Was it the director? The story? 

No. It was Will Smith. 

I Am Legend revolved around Will Smith—not just leaning on lone-hero vibes, but unleashing his big-screen charisma full force. A simple, bare-bones story came alive because of it. That’s why Hollywood still bet on the “star effect.” 

Side note: I Am Legend’s director, Francis Lawrence, might be best known later for The Hunger Games. But for Anson, his standout work was Constantine—aka Hellblazer. 

In Constantine, Francis crafted a pitch-perfect Keanu Reeves under his lens. In I Am Legend, Will Smith’s charm hit its peak. 

Sure, Children of Men wasn’t about “making a god”—no need to turn Theo into a hero. But that focus? It’s a surefire way to breathe life into the story. 

Maybe that’s the missing spark the Children of Men team couldn’t nail down for market appeal. 

People think an actor’s basic job is to act. 

Not quite. Their real gig is being the bridge—guiding the audience into the film, into the story. Even a pretty face has a purpose. 

The trick is, how does a director tap into that? 

(End of Chapter)