Finding harmony at last in ‘Maestro’
Daron James, LOS ANGELES TIMES
February 15, 2024
In creating the lifting sequence that reconnects them, cinematographer Matthew Libatique lit the location knowing “the music was going to power the performance.” “From a lighting standpoint we made sure we could move the camera through the space without being too precious where the light was,” he says.
“Bradley had this idea where we would float a crane shot over the orchestra and did a one-take of this performance where the camera would be moving and roaming around before pulling back and finally landing on Felicia.” Upon seeing her, Leonard rushes over as the camera wraps around them to a profile shot — a stylistic motif previously illustrated in the film — to capture a lasting embrace where the two are in harmony as one.