Actress Lulu Wang HD Instagram Photos and Wallpapers June 2024

#Director Lulu Wang (@thumbelulu) and #DOP Anna Franquesa-Solano AEC (@annafranquesasolano) take us #behindthescenes of #Expats, shot with #Panaspeed lenses and serviced by #Panavision Woodland Hills. Anna begins: “We wanted to capture a sense of restraint, since the three protagonists are constantly making an effort to not let go or surrender to their emotions, knowing that if they do, they will get lost. It is this attempt to keep control over their lives that influenced much of the visual look—subdued and constrained.” Lulu continues: “Anna and I watched films together and also referenced photographers Michael Wolf and Christopher Anderson. We discussed how we’d visually represent this wound, this unseen thing. We also talked a lot about the contrast of the different worlds and spending a lot of time on the ground in Hong Kong gave us a lot of inspiration.” Anna continues: “The reason why I went to Panavision for this project is because they have some of the best glass in the world and they were open to work with me to develop and find the look. The Panaspeeds gave us the control over the image that felt appropriate for the look. After performing some tests, Dan Sasaki modified them to be less sharp, softening the bokeh, controlling the flare to a minimum, and having very subtle glare around highlights, so we didn’t need any filtration during the shoot. We kept the look very clean, with no aberrations or flares to soften the reality that these women have to go through.” Lulu concludes: “The scale of EXPATS was far greater than anything I’ve done before, and it gave us a ton of runway to play with different visual languages and thematic ideas. It was important for us to be expansive without losing the intimacy or specificity for each character and their particular world. I became a director because I wanted to tell stories that transport you to another world and into another perspective. What keeps me inspired these days is collaboration. I love how collaboration expands my worldview and it helps me to continue learning and growing.”

#Director Lulu Wang (@thumbelulu) and #DOP Anna Franquesa-Solano AEC (@annafranquesasolano) take us #behindthescenes of #Expats, shot with #Panaspeed lenses and serviced by #Panavision Woodland Hills. Anna begins: “We wanted to capture a sense of restraint, since the three protagonists are constantly making an effort to not let go or surrender to their emotions, knowing that if they do, they will get lost. It is this attempt to keep control over their lives that influenced much of the visual look—subdued and constrained.” Lulu continues: “Anna and I watched films together and also referenced photographers Michael Wolf and Christopher Anderson. We discussed how we’d visually represent this wound, this unseen thing. We also talked a lot about the contrast of the different worlds and spending a lot of time on the ground in Hong Kong gave us a lot of inspiration.” Anna continues: “The reason why I went to Panavision for this project is because they have some of the best glass in the world and they were open to work with me to develop and find the look. The Panaspeeds gave us the control over the image that felt appropriate for the look. After performing some tests, Dan Sasaki modified them to be less sharp, softening the bokeh, controlling the flare to a minimum, and having very subtle glare around highlights, so we didn’t need any filtration during the shoot. We kept the look very clean, with no aberrations or flares to soften the reality that these women have to go through.” Lulu concludes: “The scale of EXPATS was far greater than anything I’ve done before, and it gave us a ton of runway to play with different visual languages and thematic ideas. It was important for us to be expansive without losing the intimacy or specificity for each character and their particular world. I became a director because I wanted to tell stories that transport you to another world and into another perspective. What keeps me inspired these days is collaboration. I love how collaboration expands my worldview and it helps me to continue learning and growing.”

#Director Lulu Wang (@thumbelulu) and #DOP Anna Franquesa-Solano AEC (@annafranquesasolano) take us #behindthescenes of #Expats, shot with #Panaspeed lenses and serviced by #Panavision Woodland Hills. Anna begins: “We wanted to capture a sense of restraint, since the three protagonists are constantly making an effort to not let go or surrender to their emotions, knowing that if they do, they will get lost. It is this attempt to keep control over their lives that influenced much of the visual look—subdued and constrained.” Lulu continues: “Anna and I watched films together and also referenced photographers Michael Wolf and Christopher Anderson. We discussed how we’d visually represent this wound, this unseen thing. We also talked a lot about the contrast of the different worlds and spending a lot of time on the ground in Hong Kong gave us a lot of inspiration.” Anna continues: “The reason why I went to Panavision for this project is because they have some of the best glass in the world and they were open to work with me to develop and find the look. The Panaspeeds gave us the control over the image that felt appropriate for the look. After performing some tests, Dan Sasaki modified them to be less sharp, softening the bokeh, controlling the flare to a minimum, and having very subtle glare around highlights, so we didn’t need any filtration during the shoot. We kept the look very clean, with no aberrations or flares to soften the reality that these women have to go through.” Lulu concludes: “The scale of EXPATS was far greater than anything I’ve done before, and it gave us a ton of runway to play with different visual languages and thematic ideas. It was important for us to be expansive without losing the intimacy or specificity for each character and their particular world. I became a director because I wanted to tell stories that transport you to another world and into another perspective. What keeps me inspired these days is collaboration. I love how collaboration expands my worldview and it helps me to continue learning and growing.”

#Director Lulu Wang (@thumbelulu) and #DOP Anna Franquesa-Solano AEC (@annafranquesasolano) take us #behindthescenes of #Expats, shot with #Panaspeed lenses and serviced by #Panavision Woodland Hills. Anna begins: “We wanted to capture a sense of restraint, since the three protagonists are constantly making an effort to not let go or surrender to their emotions, knowing that if they do, they will get lost. It is this attempt to keep control over their lives that influenced much of the visual look—subdued and constrained.” Lulu continues: “Anna and I watched films together and also referenced photographers Michael Wolf and Christopher Anderson. We discussed how we’d visually represent this wound, this unseen thing. We also talked a lot about the contrast of the different worlds and spending a lot of time on the ground in Hong Kong gave us a lot of inspiration.” Anna continues: “The reason why I went to Panavision for this project is because they have some of the best glass in the world and they were open to work with me to develop and find the look. The Panaspeeds gave us the control over the image that felt appropriate for the look. After performing some tests, Dan Sasaki modified them to be less sharp, softening the bokeh, controlling the flare to a minimum, and having very subtle glare around highlights, so we didn’t need any filtration during the shoot. We kept the look very clean, with no aberrations or flares to soften the reality that these women have to go through.” Lulu concludes: “The scale of EXPATS was far greater than anything I’ve done before, and it gave us a ton of runway to play with different visual languages and thematic ideas. It was important for us to be expansive without losing the intimacy or specificity for each character and their particular world. I became a director because I wanted to tell stories that transport you to another world and into another perspective. What keeps me inspired these days is collaboration. I love how collaboration expands my worldview and it helps me to continue learning and growing.”

#Director Lulu Wang (@thumbelulu) and #DOP Anna Franquesa-Solano AEC (@annafranquesasolano) take us #behindthescenes of #Expats, shot with #Panaspeed lenses and serviced by #Panavision Woodland Hills. Anna begins: “We wanted to capture a sense of restraint, since the three protagonists are constantly making an effort to not let go or surrender to their emotions, knowing that if they do, they will get lost. It is this attempt to keep control over their lives that influenced much of the visual look—subdued and constrained.” Lulu continues: “Anna and I watched films together and also referenced photographers Michael Wolf and Christopher Anderson. We discussed how we’d visually represent this wound, this unseen thing. We also talked a lot about the contrast of the different worlds and spending a lot of time on the ground in Hong Kong gave us a lot of inspiration.” Anna continues: “The reason why I went to Panavision for this project is because they have some of the best glass in the world and they were open to work with me to develop and find the look. The Panaspeeds gave us the control over the image that felt appropriate for the look. After performing some tests, Dan Sasaki modified them to be less sharp, softening the bokeh, controlling the flare to a minimum, and having very subtle glare around highlights, so we didn’t need any filtration during the shoot. We kept the look very clean, with no aberrations or flares to soften the reality that these women have to go through.” Lulu concludes: “The scale of EXPATS was far greater than anything I’ve done before, and it gave us a ton of runway to play with different visual languages and thematic ideas. It was important for us to be expansive without losing the intimacy or specificity for each character and their particular world. I became a director because I wanted to tell stories that transport you to another world and into another perspective. What keeps me inspired these days is collaboration. I love how collaboration expands my worldview and it helps me to continue learning and growing.”

#Director Lulu Wang (@thumbelulu) and #DOP Anna Franquesa-Solano AEC (@annafranquesasolano) take us #behindthescenes of #Expats, shot with #Panaspeed lenses and serviced by #Panavision Woodland Hills. Anna begins: “We wanted to capture a sense of restraint, since the three protagonists are constantly making an effort to not let go or surrender to their emotions, knowing that if they do, they will get lost. It is this attempt to keep control over their lives that influenced much of the visual look—subdued and constrained.” Lulu continues: “Anna and I watched films together and also referenced photographers Michael Wolf and Christopher Anderson. We discussed how we’d visually represent this wound, this unseen thing. We also talked a lot about the contrast of the different worlds and spending a lot of time on the ground in Hong Kong gave us a lot of inspiration.” Anna continues: “The reason why I went to Panavision for this project is because they have some of the best glass in the world and they were open to work with me to develop and find the look. The Panaspeeds gave us the control over the image that felt appropriate for the look. After performing some tests, Dan Sasaki modified them to be less sharp, softening the bokeh, controlling the flare to a minimum, and having very subtle glare around highlights, so we didn’t need any filtration during the shoot. We kept the look very clean, with no aberrations or flares to soften the reality that these women have to go through.” Lulu concludes: “The scale of EXPATS was far greater than anything I’ve done before, and it gave us a ton of runway to play with different visual languages and thematic ideas. It was important for us to be expansive without losing the intimacy or specificity for each character and their particular world. I became a director because I wanted to tell stories that transport you to another world and into another perspective. What keeps me inspired these days is collaboration. I love how collaboration expands my worldview and it helps me to continue learning and growing.”

#Director Lulu Wang (@thumbelulu) and #DOP Anna Franquesa-Solano AEC (@annafranquesasolano) take us #behindthescenes of #Expats, shot with #Panaspeed lenses and serviced by #Panavision Woodland Hills. Anna begins: “We wanted to capture a sense of restraint, since the three protagonists are constantly making an effort to not let go or surrender to their emotions, knowing that if they do, they will get lost. It is this attempt to keep control over their lives that influenced much of the visual look—subdued and constrained.” Lulu continues: “Anna and I watched films together and also referenced photographers Michael Wolf and Christopher Anderson. We discussed how we’d visually represent this wound, this unseen thing. We also talked a lot about the contrast of the different worlds and spending a lot of time on the ground in Hong Kong gave us a lot of inspiration.” Anna continues: “The reason why I went to Panavision for this project is because they have some of the best glass in the world and they were open to work with me to develop and find the look. The Panaspeeds gave us the control over the image that felt appropriate for the look. After performing some tests, Dan Sasaki modified them to be less sharp, softening the bokeh, controlling the flare to a minimum, and having very subtle glare around highlights, so we didn’t need any filtration during the shoot. We kept the look very clean, with no aberrations or flares to soften the reality that these women have to go through.” Lulu concludes: “The scale of EXPATS was far greater than anything I’ve done before, and it gave us a ton of runway to play with different visual languages and thematic ideas. It was important for us to be expansive without losing the intimacy or specificity for each character and their particular world. I became a director because I wanted to tell stories that transport you to another world and into another perspective. What keeps me inspired these days is collaboration. I love how collaboration expands my worldview and it helps me to continue learning and growing.”

#Director Lulu Wang (@thumbelulu) and #DOP Anna Franquesa-Solano AEC (@annafranquesasolano) take us #behindthescenes of #Expats, shot with #Panaspeed lenses and serviced by #Panavision Woodland Hills. Anna begins: “We wanted to capture a sense of restraint, since the three protagonists are constantly making an effort to not let go or surrender to their emotions, knowing that if they do, they will get lost. It is this attempt to keep control over their lives that influenced much of the visual look—subdued and constrained.” Lulu continues: “Anna and I watched films together and also referenced photographers Michael Wolf and Christopher Anderson. We discussed how we’d visually represent this wound, this unseen thing. We also talked a lot about the contrast of the different worlds and spending a lot of time on the ground in Hong Kong gave us a lot of inspiration.” Anna continues: “The reason why I went to Panavision for this project is because they have some of the best glass in the world and they were open to work with me to develop and find the look. The Panaspeeds gave us the control over the image that felt appropriate for the look. After performing some tests, Dan Sasaki modified them to be less sharp, softening the bokeh, controlling the flare to a minimum, and having very subtle glare around highlights, so we didn’t need any filtration during the shoot. We kept the look very clean, with no aberrations or flares to soften the reality that these women have to go through.” Lulu concludes: “The scale of EXPATS was far greater than anything I’ve done before, and it gave us a ton of runway to play with different visual languages and thematic ideas. It was important for us to be expansive without losing the intimacy or specificity for each character and their particular world. I became a director because I wanted to tell stories that transport you to another world and into another perspective. What keeps me inspired these days is collaboration. I love how collaboration expands my worldview and it helps me to continue learning and growing.”

So… my production designer Yong Ok Lee (@sungji715 ) and I first met for our short film “Touch,” where her budget was $300 for 4 sets including a jail cell. She got a little more on “The Farewell”… but the greatest leap was to“Expats,” where she was challenged with scaling her intimate, detailed approach to the epic, sprawling production of this 6.5hr series. I don’t know how to describe all the feats of this challenge and the talent, the tenacity, the tears shed to accomplish it. With the incorporation of stage builds, green screens, special effects and visual effects, it was vital not to lose the realness – the details, the textures & specificity of HK, as well as the intimacy of these spaces for the characters. I could not be more proud of the final results, but more importantly, of our mutual growth through this process of leaping to such a large scale project. Here’s a peek into Yong’s process – from concept drawings to reality.