Three little things the Hawkeye directors want fans to notice

One thing you learn in a career from talking to TV and film directors: They need to focus on both the big picture and the smallest details at all times. Viewers will likely miss some of the little things that obsessive directors, but anyone who makes a series or a movie doesn’t have that luxury. If they miss a little detail, it could turn into a big deal. At the same time, paying attention to all the little details can be unsatisfying when viewers find those details obvious or unimportant, which they often do.

“When you’re in the moment, you make these little decisions thinking, ‘Oh, I’m so smart! Said Bertie, one of the British crew who directed episodes 3, 4 and 5 of Hawk Eye. “You say to yourself ‘Oh my God people will love it this, and people will like it this. ‘ And then you look back at it, and you’re like, “None of those little things really matter. It’s the overall thing that you want people to take with you.

Bert & Bertie, who co-directed the feature films Zero Troop and Dance camp, have some little details that they want people to understand Hawk Eye. Bertie is especially excited about a moment at the end of Episode 5, “Ronin”, where Clint Barton, aka Hawkeye (Jeremy Renner) hands an arrow to his neophyte partner, Kate Bishop (Hailee Steinfeld). “It wasn’t scripted,” she says. “We were losing light shooting that very day, and he held out the arrow at her, and I was like, ‘Oh, this is from the comics! This image from the Matt Fraction comics! ‘ So it was a lovely little moment that I would like people to notice.

Photo: Marvel Studios via Polygon

For Bert, a mug in Kate’s aunt’s house is particularly noteworthy. “It’s definitely my guilty pleasure, the ‘Thanos was right’ mug,” she said. “Just because on so many levels it’s so unbelievably dark. It appeals to my dark sense of humor.

And Bertie is hoping viewers will catch a moment about 30 minutes after the start of Episode 3, “Echoes,” where Kate and Clint kill time in a restaurant while her hearing aid is replaced. “In the restaurant scene, I want people to notice that I was the only one in that room,” she says. “We couldn’t have anyone else because of the COVID restrictions – there was a limit to the number of people we could have in this restaurant. So to lead them in this particular scene, I had to have an iPad with the headphones on and be at the table behind Kate. Check out the cameo there! “

She also highlights the high percentage of lead actors doing their own stunt and combat work, and how this allowed her and her partner to compose long Steadicam shots where the actors’ faces are clearly visible while ‘they fight. “Jeremy is very good,” says Bertie. “He’s like, ‘Just let me do this. Stand aside, Joe. Joe is his stuntman. So Jeremy goes in there quite often. He is very talented and has been training very intensely for years, both in archery and melee. Hailee’s dad is a stuntman, so she does a lot too.

This especially came into play during a rooftop fight in Episode 4, “Partners, Am I Right?” , Where Hawkeye and Kate face off against antagonists Maya (Alaqua Cox) and Yelena (Florence Pugh). “Heidi [Moneymaker], our amazing stunt coordinator, kept talking about how lucky we all were to be able to hold our camera moments with the real actors, ”said Bertie. “We could keep the camera moving and flowing around these characters, because we were doing so much with the actors. Not to take it away from our incredible stunt team. We were playing with the darkness a lot in this scene.

Black masked fighter confronts Kate Bishop in Hawkeye

Photo: Marvel Studios

In general, however, what Bert & Bertie want Hawk Eye Viewers will notice how the action is driven by emotional rhythms, rather than warrants to stall a car chase or fight scene in each episode. “I would like people to leave with the human story behind Hawk Eye, said Bert. “I think that’s what defines Hawk Eye apart from that, it’s a human story. It is about someone returning to their family for Christmas. And we all lived for two years that a lot of people couldn’t go home for Christmas. It’s a very human issue at its core, and I think we all need it right now.

“One of the things that is so important with action sequences is that the moment you stop telling a story during an action sequence, whether it’s a car chase or a fight, there’s no reason, ”says Bertie. “We don’t want to do an action streak unless it advances the story. So when you think about our three episodes, each had a pretty intense action streak. The car chase is that Clint no longer trusted Kate as an archer or active partner to become, during this streak, in love with her skills. The rooftop brawl got incredible emotion as Kate stepped over that ledge. This scene was really happening. to build himself up until Hawkeye realizes he needs to protect Kate because he let Natasha down.

“And then in Episode 5, you see Clint seeing himself as Ronin and dealing with his dark past. And you see Maya come to terms with the fact that the revenge she’s been chasing for years – maybe she doesn’t “It’s not all figured out. So action sequences always have to tell a story. If they stop doing that, then we’re kind of turned off.”

Kate Bishop hangs from a car window to shoot an arrow at a pursuer in a car chase in Hawkeye

Photo: Marvel Studios

The same time, Hawk Eye Periodically focuses on long, intimate conversations that aren’t as colorful and difficult to direct as a car chase shot with a 360-degree rotating camera inside a car. Bert says they don’t have a preference between filming action and filming those character moments.

“They’re both amazing to make,” she says. “They have such different tools that you use to put them together. It is just as incredible to blow up a truck that is speeding down the road. It’s just as amazing to spend a day in Kate’s apartment, with her and Yelena eating mac and cheese. It’s great to be able to do both. They both have those moments that you seek as a director, just moments of human truth.

Bertie agrees – they build a story anyway, and as long as viewers get the emotional content, the Easter eggs or little touches don’t matter as much. “For us, it’s just when people watch this dynamic between these two characters and find out about the intersection of all these other characters going into their lives,” she says. “That’s really what’s important in the story. So the little things that you think are so important when you shoot aren’t actually so important at the end. ”

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