The practicalities of the shoot underlined that ethos: Korea had to stand in for Japan, as production for the Japan-set scenes began right as the pandemic started. “We didn’t want to create a refined, still sensibility for the past. “The show was emphatic about finding what’s similar about these environments and time periods rather than focusing on what’s different,” Ellenberg said. Showing that the struggles of the past are struggles still being faced was paramount. Anamorphic lenses allow you to get close to the characters but see their environment.” We wanted it to be relatable and accessible. We used anamorphic lenses and handheld cameras to increase the immersion. “But I wanted the audience to be viscerally living this time. “When you see period pieces, they tend to be inaccessible, they’re presentational,” Chon said. From ‘Y Tu Mamá También’ to Disney+: Diego Luna and Gael García Bernal’s 20-Year Journey
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