Fred Hechinger found working on 'Gladiator 2' like being in theatre.
The actor - who has appeared in the likes of 'The Woman in the Window', 'White Lotus' and Netflix's 'Fear Street Trilogy' - is set to play Emperor Geta in Sir Ridley Scott's highly anticipated sequel, and he has opened up on the director's unique process by using multiple cameras at once to get all kinds of angles and perspectives for a scene.
He told Collider: "It’s amazing. I mean, the eight cameras reminds me of theater because you have an entire environment that’s created in camera.
"But I have to say, what’s amazing, too, is when something feels alive it feels alive in unique but connective ways.
"So, when something’s really special, what we’re doing here, when you start to find a rhythm, again, if I’m lucky, I feel connected to that feeling of when I started doing plays.
"I’ve never been able to put a name to whatever that weird feeling is, but you just get a sense of it."
He pointed to the way the cast form a bond which then feeds into the story being told on stage or set.
He added: "There’s something that you can’t put your finger on that’s within the moment, of the moment, in the moment. We spend all this time hanging out, and first off, you make real friends, which is an amazing part.
"And then you also, within the scenes, you find something that you cannot name. And all the intensity of that set breeds that, and all the kind of gentleness of this one breeds that.
"I always find that the process becomes the product, and so, however it’s designed is built to bring out and nurture and kind of speak to that story that it’s trying to tell."
The actor - who has appeared in the likes of 'The Woman in the Window', 'White Lotus' and Netflix's 'Fear Street Trilogy' - is set to play Emperor Geta in Sir Ridley Scott's highly anticipated sequel, and he has opened up on the director's unique process by using multiple cameras at once to get all kinds of angles and perspectives for a scene.
He told Collider: "It’s amazing. I mean, the eight cameras reminds me of theater because you have an entire environment that’s created in camera.
"But I have to say, what’s amazing, too, is when something feels alive it feels alive in unique but connective ways.
"So, when something’s really special, what we’re doing here, when you start to find a rhythm, again, if I’m lucky, I feel connected to that feeling of when I started doing plays.
"I’ve never been able to put a name to whatever that weird feeling is, but you just get a sense of it."
He pointed to the way the cast form a bond which then feeds into the story being told on stage or set.
He added: "There’s something that you can’t put your finger on that’s within the moment, of the moment, in the moment. We spend all this time hanging out, and first off, you make real friends, which is an amazing part.
"And then you also, within the scenes, you find something that you cannot name. And all the intensity of that set breeds that, and all the kind of gentleness of this one breeds that.
"I always find that the process becomes the product, and so, however it’s designed is built to bring out and nurture and kind of speak to that story that it’s trying to tell."