But in a field that’s constantly at war between digital/animated work and practical or on-film techniques, here’s a guy just looking for pure inspiration. Miranda’s storied career is littered with an embrace of digital technology - his work on David Fincher’s The Curious Case of Benjamin Button made him the first DP nominated for a fully digital production, and he went on to shoot the highly animated Tron: Legacy. The cutting-edge, built-into-the-fighter-jets camera work he used to pull off Maverick’s photography is highly technical and well-detailed, but to me, even more fascinating than the micro is the macro: Animation allowed a longtime live-action filmmaker to dream big. Perfect for Maverick.Īs Miranda told Indiewire, if he could get the planes in Maverick to look like the dogfight in Nenow’s eviscerating portrait of war, then he’d be putting a live-action movie in front of audiences they’d never seen before. The animated camera swings in and out of the cockpit, with the planes moving low to the ground in ways the Top Gun academy teachers would deem incredibly irresponsible. While introspective, it’s easy to see why Miranda sparked to Nenow’s work. Paths of Hate uses a similar bold-lined style to turn a vicious warplane dogfight into a reflection of anger’s poisonous effect on the human psyche. Nenow is not as known an entity as anyone involved in Top Gun: Maverick, but he is an innovator: Most recently, the Polish animator helmed Another Day of Life, an animated documentary/narrative hybrid about the Angolan Civil War that earned a release from GKIDS in 2018.
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