Sure, celebrated auteur, Stanley Kubrick performed a tiny position within the course of “John Wick: Chapter 4.” Again when the “2001: A Area Odyssey” director was engaged on his 1975 interval drama, “Barry Lyndon,” he deliberate to shoot it, in accordance with The Telegraph, in order to not, “reproduce the set-bound, artificially lit look of different costume dramas from that point.” Alongside together with his cinematographer John Alcott, Kubrick tried to shoot, “as many sequences as attainable with out recourse to electrical mild,” which meant utilizing daylight and candles to light up his fastidiously constructed scenes. All of this lent the movie a sort of painterly look, or as The Telegraph put it, “the day-lit interiors owe quite a bit to [18th Century English painter William] Hogarth.”
Although it might sound unlikely, Kubrick and Alcott’s method had an impact on Chad Stahelski, who instructed Collider that he was a “huge fan” of the best way “Barry Lyndon” was shot. Within the “John Wick: Chapter 4” trailer, there is a notably impressive-looking scene the place Wick meets Invoice Skarsgård’s Marquis de Gramont — a member of the Excessive Desk group of crime bosses — at a desk within the Place du Trocadéro within the shadow of the Eiffel tower. And Stahelski discovered himself reminded of Kubrick when it got here time to shoot the grand scene:
“You do all these read-throughs in these studio rooms beforehand, and also you do your little appearing rehearsals. However once you actually see it, that was like my ‘Barry Lyndon’ set the place, I do not know in case you bear in mind ‘Barry Lyndon,’ however huge fan of the Kubrickian means he did that. So, we positioned all people on this actually, actually renaissance sort of means.”
