Before, we were thinking of a stylization that made the best use of our resources. If you look at our earlier films, they go from excessively handheld to very handheld to very little handheld. Each time, we’ve had more money, more resources to work with, and a bigger talent pool to play with. I don’t want to rely on my old gimmicks. I want to recognize gimmicks I was using to get me through. So when it came time to do this movie—Dan has a cool, mechanical precision and I wanted to express that flowing, precision-oriented vibe through the film through the camera movements. The Guest does still have a little handheld here and there, because I also wanted to bring in a reality, and sometimes the best way to do with a little grittiness, so it doesn’t feel too forced. Sometimes too controlled actually feels cheaper. You look at film-school projects, and people just learned how to use dollies and cranes, and all those toys, but it feels very superficial. It’s always about trying to tread that line, finding perfectionism within technique, but also not using overusing toys just because you have them.
Adam Wingard//The Dissolve on The Guest
smart dudes aware of their own process/limitations/craft? give them money + keep them away from the superhero franchises.