WHEN DESCRIBING POTENTIALLY POWERFUL CAMERA MOVES
Discussing his lead role in American Sniper with Deadline's Mike Fleming Jr., Bradley Cooper contrasted the "no frills" style that Clint Eastwood was going for (which included the absence of music until the use of an old Morricone piece at the end) with a more theatrical style, and he mentioned Brian De Palma as an example-- a sort of shorthand to describe the type of camera move he wants to suggest. Here's the exchange:
DEADLINE: As you build your production company now with Todd Phillips, how has this philosophy of stripping down to the core influenced how you look at a piece of material?
COOPER: It’s there. But I’ve been very lucky to be brought up by great storytellers, starting with JJ Abrams initially on Alias. I’m from the East Coast and got planted out there in LA and it was like a self-imposed grad school for film. I’d go to the end of the room every day and get everybody’s dailies on videotape and watch them. I learned so much there just about the mechanics of it. Then I learned more on this movie The Midnight Meat Train. With Limitless I really got to work on story, and that brings me to David O. Russell, who is all about that. Where’s the f*cking heart, where’s the f*cking heart, give me the real thing, drop the bullsh*t. He loves to celebrate life and nostalgia and comedy, but there is no bullsh*t. And when you’re working with him, you better not f*cking act.
DEADLINE: He’s not a fan of theatrics?
COOPER: No. He wants to see your soul. I’ve had it jammed in me for so long that by the time I landed on Sniper, I was ready for the way Clint operates. It’s always about, what are we getting at here? There it is, there’s the f*cking mitochondria, this is the sh*t right here, that’s the powerhouse. So, we were on the same page, me and Clint, and that meant no frills, let’s just tell a simple story. We knew that character was charismatic. The guy’s amazing. He’s fucking huge. He’s got this amazing voice. He’s got this levity about him. He has this way of thinking about the world that I’ve never seen on film, quite frankly. When the psychiatrist asks him about himself and how he’s doing, you’re not expecting that answer. I wasn’t. But that’s real to him and you’re looking in his eyes and thinking, what’s going on there? That’s interesting to us, that’s an interesting enough character to fill the frame. You don’t have to come up on a f*cking Brian De Palma thing or come overhead like…no, that’s it, right here.
DEADLINE: Or having the shrink comment that his eyes betray the fact he’s not right?
COOPER: Yeah, well, that’s just Jason Hall making it real, but we were all on the same page. Chris led the way.