“HelloI’m a man named Pablo Larraín and I am the director of Spencer. This scene is very important in the movie and it’s in the first third of the film. AndWe see DianaImagine walking into a dinner with all the royal family. DianaNaturally, a game of chess is played by Kristen Stewart. And it’s the very first scene where we start to see what she sees and feel what she’s feeling. AndHow do we do this? ThatThe question was asked. HowAre we inviting the audience to share their point of views? And some of the things aren’t really happening and they are just happening in her imagination, in her perception, in her own fantasy of the reality. AndThis reality may somehow interfer with a conflict that has already occurred to her and the family. SoWe are seeing the real consequences of this conflict. The main consequence is her mental distress and how she could eventually start seeing things that aren’t really there. WeI took a lot of photos. It’s one of the scenes of this film that has more coverage, like pretty much everyone there got a single shot and then we cover it from different angles. BecauseI felt that that was the material we needed for the editing room. We could then find the right rhythm to cut it correctly. So it’s really a scene that have a very precise ascension where we started with a slow kind of like minimalistic rhythm. And then as it goes by, it creates more and more intensity up to the point that it’s almost unbearable. AndI wanted that limit to be reached, I wanted to push the limits in intensity and volume. And obviously, Jonny Greenwood’s music is very relevant for the operation of the scene. It was something I felt was essential for KristenFeel the pressure of the extended family. SoI asked. KristenShe was instructed to avoid the set-up until it was all ready. AndWe know she has this necklace CharlesTook that necklace. Camilla Parker Bowles. And the audience knows that that necklace is not just a necklace, it’s the representation of a broken marriage, a representation of a very painful gift. SoWe discussed this with Jonny GreenwoodOur composer on how it should be performed. And I remember asking him to create something that could have a progression from something, from music that could be played in that context, that is music that is sort of designed to disappear, just to be in the background, and then eventually becomes very relevant and very intense and helps you define what she’s going through.” [CLATTERING] “So it’s a very beautiful and strange work, because the composition evolves into a state of panic. That was very important for the process of making the scene and for the result of the scene.” [MUSIC INTENSIFIES] “AndWe feel for her and we feel with her. KristenIt is amazing to manage the physicality and the emotions. It’s a scene with no dialogue, it’s just music and sort of the cinematic progression and the dramatic progression and the interaction between her, the Queen, Anne Boleyn?, and of course, Charles.”
Source: NY Times
