Once we were lucky enough to have Kevin Costner record the voice of Enzo, we liked it even more, so we added some lines.
Enzo’s voice is the secret sauce of both the book and the film-his philosophical view of the world, sometimes being so intuitive and accurate, sometimes being so wrong and so funny. The voiceover is a huge part of the success of the book, I believe. I fell in love with the story first through the script by Mark Bomback, then began to cherish Garth’s wonderful book. If I’m honest, the story first came to my attention after having read the screenplay that Patrick Dempsey had given me. How did you approach the source material in this adaptation? As a director watching that moment of spontaneous acting? That shot is in the final film. There’s a beautiful moment towards the end of the film, where Milo says to the dog, “You’re a good friend.” Quite spontaneously, the dog responded by just laying his head on Milo’s shoulder. So we got through our schedules must faster than we were expecting! We would talk for ages about “How are we going to get the dog to jump through that window?” or “How are we going to get the dog to pick up the hat?” But time and time again, we were gobsmacked that the dog would do what was needed on the first take. What are some of your best stories from the set? It was like 3-D Sudoku, because you had to work out so many different levels at the same time. Once we’d done that, we had to work out what we’d do with the dog trainers, because they’d be sitting right next to Milo on the film set. We would work out how the dog would do A, B, C, and D in the scene, breaking the scene down into each of those actions. Nonetheless, I like to rehearse each scene before we film it, and you can’t really rehearse with a dog. But we were very blessed with our dogs and with our dog trainers. When you have a dog in every scene, it’s definitely a challenge.
SIMON CURTIS FEMALE VOCALS WHO WAS WINDOWS
When we were designing the set, we were making sure windows were low enough that we could get the angle from the dog’s height.
I love when he looks up at Milo and Amanda kissing for the first time as husband and wife. It was really fun when we were shooting it to place the camera in the dog’s position, to see what a birth or a marriage would look like three feet from the ground.ĭo you have a favorite such dog shot in the film? But we’ve never seen those big personal family events from the dog’s point of view. What I loved about this story was how we’ve seen so many films where there are births and marriages and deaths-hundreds, if not thousands of films. I have two daughters, so obviously that was part of it. I was thrilled when I eventually got my hands on it, because I think it’s a beautiful film about so many things, but principally a film about family. I fought hard to direct this film, six or seven years ago when it was at a previous studio.
0 kommentar(er)
