![]() ![]() Principal photography took place in Los Angeles and Shanghai in mid-2012. He wrote the first draft of the script in five months. After making I'm Here (2010), a short film sharing similar themes, Jonze returned to the idea. Jonze conceived the idea in the early 2000s after reading an article about a website that allowed for instant messaging with an artificial intelligence program. The film also stars Amy Adams, Rooney Mara, Olivia Wilde, and Chris Pratt. The film follows Theodore Twombly ( Joaquin Phoenix), a man who develops a relationship with Samantha ( Scarlett Johansson), an artificially intelligent virtual assistant personified through a female voice. It marks Jonze's solo screenwriting debut. It’s just a period that hasn’t happened yet.Her (stylized in lowercase) is a 2013 American science-fiction romantic drama film written, directed, and co-produced by Spike Jonze. But in many ways this is a period piece too. MN: You were coming off shooting “Tinker Tailor Soldier Spy.” I can’t imagine a movie more different in setting or tone. And we’d have to take all of those locations and make them work in the same scene. and that felt right, and then a square in Shanghai that made you feel how big that city has become and that felt right, and then an interior in L.A. HVH: That’s where you need strong direction, merging two cities like that. look like the same place (and yet a totally different place than either city). MN: Of course when you did go wide you had a different challenge: how to make Shanghai and L.A. We tried to do it different ways like shooting behind his neck or these other tricks and every time we did it felt like we stepped out of the universe. But you needed to do it a lot of the time. You had to know the exact second when it was too much. It’s hard to keep making those close-ups interesting enough that you keep watching. MN: That can’t be easy, for him but also you, spending so much of the movie right up there practically in his mustache. We lost the intimacy when we drifted away from him. For the movie to work you have to access Theodore’s feelings, and when we tried to give a little distance it didn’t work. Samantha is just a voice, and Joaquin is alone, so we had to rely on Joaquin and his expressions. HVH: As much as I’d like to say that’s an artistic choice, in some ways it was really us forced into a corner. Why was that choice made? Was it simply a matter of the intimacy or.? MN: Much of the film has Joaquin Phoenix’s face in extreme close-up. It allows you to find the poetry as a cinematographer. He’s someone who can be concrete but also doesn’t want to be too concrete because he wants to find things between the lines. HVH: Spike is one of those great directors who has very specific ideas. MN: How specific was Spike in saying he wanted it to look a certain way? They help you make something realistic, or something unrealistic, or something realistic with a twist, which is what I think this is. MN: The production also had the infamous “no blue” rule. So it’s very much chasing the sun and capture moments in which the light is most gentle toward the city. A lot of times we’d be building up the frame and then we’d say, “Let’s eliminate certain things so it looks more like a hypothetical universe.” We were also trying to create a very comfortable L.A. I wanted to avoid certain light sources, certain things that will make you connect it with something you know well. Barrett, it seems like the governing principle wasn’t so much about the things all of you did want than what you didn’t want - things that make it seem too stereotypically “futuristic.” ![]()
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