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Conversations with Other Women | |
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Directed by | Hans Canosa |
Written by | Gabrielle Zevin |
Produced by | Ram Bergman Bill McCutchen Kerry Barden Kwesi Collisson |
Starring | Helena Bonham Carter Aaron Eckhart Nora Zehetner Olivia Wilde |
Cinematography | Steve Yedlin |
Edited by | Hans Canosa |
Music by | Starr Parodi Jeff Eden Fair |
Release dates |
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Running time | 84 minutes |
Country | United States |
Box office | $973,525 [1] |
Conversations with Other Women is a 2005 romantic drama film directed by Hans Canosa, written by Gabrielle Zevin, starring Aaron Eckhart and Helena Bonham Carter. The film won Best Actress for Bonham Carter at the 2005 Tokyo International Film Festival.
At a wedding reception in New York, a man in his late thirties (Eckhart) approaches a bridesmaid (Bonham Carter) of about the same age, and offers her a glass of champagne. As conversation ensues, they begin to flirt. Witty small talk about such topics as the wedding party and their own past relationships gradually reveals to the viewing film audience that they are not strangers, but in fact were previously husband and wife. A series of flashback scenes shows much younger versions of the two of them together at the start of their relationship.
Despite both having significant others (22-year-old Sarah the dancer and Geoffrey the cardiologist, respectively, both absent), the couple go upstairs to her hotel room together. However, their decision to sleep together is one which is clearly complex and fraught with emotional baggage for each of them. Again with flashbacks, a series of vignettes juxtaposes their earlier selves against the older, perhaps wiser, couple in the hotel room.
The two reminisce and reassess their feelings for each other. He appears to have ambiguous feelings about the direction of his life, while she seems more adjusted to her life choices. The emotional fulfillment the two experienced in their youth has the appearance of causing them to reflect on their current lives in comparison to the choices and options they had while much younger.
She must catch a transatlantic flight home to London in the morning, so the two leave the hotel in the early morning. As they return to their separate lives, each speculates with their cab driver on the future and the difficulty of being happy.
Conversations, Canosa's directorial debut, premiered at the 2005 Telluride Film Festival. The film subsequently played at the Tokyo International Film Festival, Seminci Valladolid International Film Festival, the US Comedy Arts Festival, South by Southwest Film Festival, Seattle International Film Festival, Los Angeles Film Festival, Rio de Janeiro International Film Festival, Hamburg Film Festival, São Paulo International Film Festival, and the Muestra Internacional de Cine.
The film's international theatrical premiere was on June 7, 2006 in France. Released by distributor MK2 Diffusion under the title Conversations avec une Femme, the film played theatrically for five months to both box office success and critical acclaim.
Released on August 11, 2006 in the United States by Fabrication Films, the film played in fourteen cities, garnering modest theatrical box office and critical acclaim.
The original split-screen Region 1 DVD version was released in the United States on January 9, 2007 by Arts Alliance America. A single frame, full screen DVD version, created for 4x3 broadcast television release, was subsequently released on October 9, 2007. The single frame cut only retains three split-screen sequences: the opening titles, the sex scene, and the closing taxicab sequence.
International DVD releases include MK2 in France, Shochiku in Japan, Revelation Films in the United Kingdom, TVA Films in Canada, Dendy Films in Australia, Filmes Unimundos in Portugal, D Productions in Turkey, Civite Films in Spain, Global in Russia, J-Bics in Thailand, Paradiso Home Entertainment in Belgium, Luxembourg and the Netherlands, Cathay-Keris Films in Singapore and Malaysia, Atlantic Film in Sweden, NoShame Films in Italy, Prooptiki Bulgaria in Bulgaria, Croatia, Romania, Serbia and Montenegro and Slovenia, Prooptiki in Greece, Shapira Films in Israel, Solopan in Poland, VideoFilmes in Brazil, and With Cinema in South Korea.
Conversations with Other Women received positive reviews from critics. On Rotten Tomatoes, the film has a rating of 74%, based on 62 reviews, with an average rating of 6.5/10. The site's critical consensus reads, "Its occasional use of split screen may feel gimmicky at times, but Conversations With Other Women is a bold, inventive drama carried by its two charismatic leads." [2] On Metacritic, the film holds a score of 62 out of 100, based on 20 reviews, indicating "generally favorable reviews". [3]
Result | Award | Recipient | Festival/Ceremony | Year |
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Won | Special Jury Prize | Hans Canosa | Tokyo International Film Festival | 2005 |
Won | Best Actress | Helena Bonham Carter | ||
Nominated | Tokyo Grand Prix | |||
Won | Best Actress | Helena Bonham Carter | Evening Standard British Film Awards | 2007 |
Nominated | Producers Award (also for Brick ) | Ram Bergman | Independent Spirit Awards | 2005 |
Nominated | Best First Screenplay Award | Gabrielle Zevin | Independent Spirit Awards | 2006 |
Nominated | Golden Spike | Seminci Valladolid International Film Festival | 2005 | |
Eckhart and Bonham Carter shot 82 pages of dialogue in only 12 days of principal photography.
To facilitate the split screen presentation of the film, two cameras (one on each actor) were used throughout principal photography.
For the sex scene, the director asked the actors to stay in the bed while the crew quickly changed camera positions to get all of the coverage. The entire scene, including 10 camera setups and a complex dolly shot, was completed in 45 minutes.
To facilitate a sense of realism, both actors provided elements of their own costumes. Eckhart wore his own Armani suit and Calvin Klein underwear as part of his costume, while Bonham Carter wore her own Prada shoes.
The hotel room, the interior of the elevator and the interior of the cab(s) in the final shot were shot on a sound stage in Culver City, California.
The hotel ballroom scenes were shot in the ballroom of the Park Plaza Hotel, adjacent to MacArthur Park near downtown Los Angeles, California. Other films shot at that location include Barton Fink , Chaplin , Nixon , The Fisher King , Wild at Heart and Bugsy .
Many scenes were shot in the Los Angeles Herald-Examiner building, which has been used almost exclusively as a film location since the notorious Los Angeles newspaper, once owned by William Randolph Hearst, closed down in 1989.
Though an editor was initially hired to cut the movie, he quit after putting together an initial assembly, citing difficulties editing the dual-frame split screen presentation in which the movie is presented. The director, who had never cut a film before, elected to learn and use the editing software himself, and acted as editor.
The final shot in the movie was the only one captured with a single camera. Eckhart and Bonham Carter were filmed in the back of one taxi on set. In post production, the shot was digitally divided in two; digital movement was added for each car and two separate background plates were composited to create the illusion of different taxi interiors.
The film contains 117 visual effects shots, all of which are designed to be "invisible". When producer Kwesi Collision solicited bids from VFX houses, he received an initial estimated VFX budget of over $1 million, followed by a $400,000 "low budget" estimate. Collision decided to execute all of the effects himself, spending four months using Adobe After Effects and Shake to complete the necessary shots.
Three apparent B-roll shots of the supporting characters in a ballroom full of dancers were actually created using visual effects. When the line producer asked the director the minimum number of extras needed for these shots during principal photography, the director requested 50 extras. When only seven extras showed up on the ballroom shoot days, an alternate solution became necessary. The visual effects supervisor found takes which included empty sections of the ballroom. Taking several high resolution stills from those takes, he created three background plates. During a day of additional photography, both the supporting characters who would appear in the foreground and pairs of dancers who would appear in the middle ground were shot against a greenscreen. The visual effects supervisor then composited up to a dozen elements to create shots which appear to contain the bride, her bridesmaids and the young man and young woman characters in the midst of a ballroom full of dancing couples.
A potential continuity error was fixed with visual effects. Due to the short shooting schedule and lack of control of the sound stage, the soles of the actors' bare feet became soiled while shooting on the hotel room set. Shots captured included views of the actors' dirty feet as they got into and out of a clean bed, which would be unlikely in a carpeted hotel room, an error that was not caught by the script supervisor on set. During post production, the director/editor discovered that five shots included in the final edit would include dirty soles. In order to address the problem, the visual effects supervisor rotoscoped the bottom of the actors' feet to delineate the parts of the frame that needed to be replaced. Since shooting replacement soles against greenscreen in the precise size and angles necessary to fill the rotoscoped sections would be cost prohibitive, the digital compositor searched the Internet for replacement feet photographs. He discovered that the best and highest resolution images of feet were on foot fetish websites. Thus the replacement feet in those five shots are "pornographic feet".
A single-frame 4:3 version of the movie was produced for television.
Although the film contains no traditional score, music plays for almost 40 percent of the running time.
Three songs from the 2003 album Quelqu'un m'a dit by Carla Bruni complement the tone of other sequences in the film. The song "J'en connais" accompanies the opening title cards and the juxtaposed narrative images, and then recurs in the final scene through the end credits. The song "Le plus beau du quartier" plays over the scene in which the woman asks the man to help her undress. The song "L'excessive" serves as accompaniment to the transition from the hotel room to the roof.
The sex scene is played to the song "Ripchord" from the 2004 album More Adventurous by the Los Angeles-based rock band Rilo Kiley.
The scenes in the wedding reception are accompanied by "wedding band" music composed by Starr Parodi and Jeff Eden Fair.
Conversations with Other Women comes in a long tradition of experiments in split screen. In 1913 Lois Weber employed the technique in the short film Suspense, a one-reel thriller. The visionary French director Abel Gance used the term "Polyvision" to describe his three-camera, three-projector technique for both widening and dividing the screen in his 1927 silent epic, Napoléon . The term "split screen" was coined to describe the many uses of the technique in films of the 1960s. More recent uses of split screen include Mike Figgis' 2000 film Timecode and the Fox TV series 24 .
The most common function of split screen is to show simultaneous actions in different places. The classic, and simplest, example of this is showing two sides of a phone conversation, as in the 1959 film Pillow Talk starring Doris Day and Rock Hudson. Another common use of the technique is to show two separate but converging spaces (such as contrasting shots of predator and prey) to create tension or suspense. The filmmaker most associated with the latter use is Brian De Palma.
Conversations' innovation in split screen is the juxtaposition of shot and reverse shot of two actors in the same take, captured with two cameras, for the entire movie. The film represents a new kind of viewing experience that enlists the audience as a perceptual editor. The filmmakers allow the viewer to choose how they watch the film, following either character or both simultaneously. Seeing both characters act and react in real time lets the audience follow the emotional experience of the characters without interruption.
At a panel on acting at the Telluride Film Festival, the actors spoke of the challenge of working in a two-camera system. Unlike traditionally shot and cut films, the actors knew that all moments of a take could end up on screen and thus 'acted through' every take. The actors were constantly 'in the moment'. The resulting film presents the actors' work in the way musicians play in a duet[ citation needed ], with action, dialogue and reaction running on both sides of the frame in real time. The movie presents two remarkable achievements in screen acting.
The shot/reverse shot function of split screen comprises most of the running time of the film, but the filmmakers also use split screen for other spatial, temporal and emotional effects. Conversations' split screen sometimes shows flashbacks of the recent or distant past juxtaposed with the present; moments imagined or hoped by the characters juxtaposed with present reality; present experience fractured into more than one emotion for a given line or action, showing an actor performing the same moment in different ways; and present and near future actions juxtaposed to accelerate the narrative in temporal overlap.
Film critic David Thomson found fault with "Conversations with Other Women"' use of split screen, contending that the device detracted from the movie's focus; if Canosa and Zevin had "excise[d] the last remaining split-screen stuff, they’d have a film with a kind of modest, forlorn greatness." [4]
Film editing is both a creative and a technical part of the post-production process of filmmaking. The term is derived from the traditional process of working with film which increasingly involves the use of digital technology. When putting together some sort of video composition, typically, you would need a collection of shots and footages that vary from one another. The act of adjusting the shots you have already taken, and turning them into something new is known as film editing.
Pan and scan is a method of adjusting widescreen film images so that they can be shown in fullscreen proportions of a standard-definition 4:3 aspect ratio television screen, often cropping off the sides of the original widescreen image to focus on the composition's most important aspects.
In film and video production, split screen is the visible division of the screen, traditionally in half, but also in several simultaneous images, rupturing the illusion that the screen's frame is a seamless view of reality, similar to that of the human eye. There may or may not be an explicit borderline. Until the arrival of digital technology, a split screen in films was accomplished by using an optical printer to combine two or more actions filmed separately by copying them onto the same negative, called the composite.
Chroma key compositing, or chroma keying, is a visual-effects and post-production technique for compositing (layering) two or more images or video streams together based on colour hues. The technique has been used in many fields to remove a background from the subject of a photo or video – particularly the newscasting, motion picture, and video game industries. A colour range in the foreground footage is made transparent, allowing separately filmed background footage or a static image to be inserted into the scene. The chroma keying technique is commonly used in video production and post-production. This technique is also referred to as colour keying, colour-separation overlay, or by various terms for specific colour-related variants such as green screen or blue screen; chroma keying can be done with backgrounds of any colour that are uniform and distinct, but green and blue backgrounds are more commonly used because they differ most distinctly in hue from any human skin colour. No part of the subject being filmed or photographed may duplicate the colour used as the backing, or the part may be erroneously identified as part of the backing.
Special effects are illusions or visual tricks used in the theatre, film, television, video game, amusement park and simulator industries to simulate the imagined events in a story or virtual world. It is sometimes abbreviated as SFX, but this may also refer to sound effects.
Cinematography is the art of motion picture photography.
Visual effects is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking and video production. The integration of live-action footage and other live-action footage or CGI elements to create realistic imagery is called VFX.
A film transition is a technique used in the post-production process of film editing and video editing by which scenes or shots are combined. Most commonly this is through a normal cut to the next shot. Most films will also include selective use of other transitions, usually to convey a tone or mood, suggest the passage of time, or separate parts of the story. These other transitions may include dissolves, L cuts, fades, match cuts, and wipes.
Douglas Hunt Trumbull was an American film director and visual effects supervisor, who pioneered innovative methods in special effects. He created scenes for 2001: A Space Odyssey, Close Encounters of the Third Kind, Star Trek: The Motion Picture, Blade Runner and The Tree of Life, and directed the movies Silent Running and Brainstorm.
Corpse Bride is a 2005 stop-motion animated dark fantasy film directed by Mike Johnson and Tim Burton from a screenplay by John August, Caroline Thompson, and Pamela Pettler, based on characters created by Burton and Carlos Grangel. The plot is set in a fictional Victorian era village in England. Johnny Depp leads the cast as the voice of Victor, while Helena Bonham Carter voices Emily, the title bride. An international co-production between the United States and United Kingdom and produced by Tim Burton Productions and Laika Entertainment, Corpse Bride is the first stop-motion feature film directed by Burton and his first stop-motion film distributed by Warner Bros. Pictures after previously producing 1993's The Nightmare Before Christmas and 1996's James and the Giant Peach for The Walt Disney Company.
Deep focus is a photographic and cinematographic technique using a large depth of field. Depth of field is the front-to-back range of focus in an image, or how much of it appears sharp and clear. In deep focus, the foreground, middle ground, and background are all in focus.
Mattes are used in photography and special effects filmmaking to combine two or more image elements into a single, final image. Usually, mattes are used to combine a foreground image with a background image. In this case, the matte is the background painting. In film and stage, mattes can be physically huge sections of painted canvas, portraying large scenic expanses of landscapes.
This article contains a list of cinematic techniques that are divided into categories and briefly described.
A front projection effect is an in-camera visual effects process in film production for combining foreground performance with pre-filmed background footage. In contrast to rear projection, which projects footage onto a screen from behind the performers, front projection projects the pre-filmed material over the performers and onto a highly reflective background surface.
Dean Raymond Cundey, A.S.C. is an American cinematographer and film director. He is known for his collaborations with John Carpenter, Steven Spielberg, and Robert Zemeckis, as well as his extensive work in the horror genre, in addition to numerous family and comedy films. His filmography as a cinematographer includes Halloween (1978), The Fog (1980), Escape from New York (1981), The Thing (1982), the Back to the Future trilogy (1985–1990), Who Framed Roger Rabbit (1988), Jurassic Park (1993), Apollo 13 (1995), and Garfield: The Movie (2004).
The over-the-shoulder shot is a camera angle used in film and television, where the camera is placed above the back of the shoulder and head of a subject. This shot is most commonly used to present conversational back and forth between two subjects. With the camera placed behind one character, the shot then frames the sequence from the perspective of that character. The over-the-shoulder shot is then utilised in a shot-reverse-shot sequence where both subject's OTS perspectives are edited consecutively to create a back and forth interplay, capturing dialogue and reactions. This inclusion of the back of the shoulder allows audiences to understand the spatial relationships between two subjects, while still being able to capture a closer shot of each subject’s facial expression. In film and television, the filmmaker or cinematographer’s choice of an OTS shot’s camera height, the use of focus and lenses affect the way audiences interpret subjects and their relationships to others and space.
Hans Canosa is an American film director, screenwriter, film editor and producer best known for his independent film Conversations with Other Women (2005), starring Aaron Eckhart and Helena Bonham Carter.
A film —also called a movie, motion picture, moving picture, picture, photoplay, or flick—is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, emotions, or atmosphere through the use of moving images that are generally accompanied by sound and other sensory stimulations. The word "cinema" is a shortening of the word "cinematography" and is used to refer to either filmmaking, the film industry, the overall art form, or a movie theater.
Articles related to the field of motion pictures include:
This glossary of motion picture terms is a list of definitions of terms and concepts related to motion pictures, filmmaking, cinematography, and the film industry in general.