“Selling Sunset” creator Adam DiVello, known for sweeping real estate shots, street pans of Los Angeles and a cast roster of West coast elite big enough to fill a $40 million home in the…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
“Selling Sunset” creator Adam DiVello, known for sweeping real estate shots, street pans of Los Angeles and a cast roster of West coast elite big enough to fill a $40 million home in the Hollywood Hills is still dreaming up new ways to shoot his sixth season of the Netflix reality show.
“Every season we try to come at it with a different perspective,” DiVello said. “What did we learn from last season? What do we want to see more from last season? You can only shoot. So many dogs walking down the street and people with shopping bags, right? You have to up the game, right? Like, I don’t want to say that we like started the getting-out-of-the-car shot with the foot, but we certainly use it a lot.”
DiVello along with “Selling Sunset” stars Chrishell Stause and Emma Hernan sat for Variety’s Making A Scene, presented by HBO to breakdown what makes this Emmy-nominated show special.
“Glam is everything to ‘Selling Sunset,'” Hernan said. “‘Selling Sunset’ wouldn’t be ‘Selling Sunset’ if we were coming in our workout clothes and sweatpants — although I love some workout clothes and sweatpants — it is fun to get glammed up.”
Specifically drawing attention to the season five episode “New Blood,” Stause said she got lucky having the right outfit ready when she was spontaneously called to shoot. “That day, something fell through and somebody had to cancel and I got a call last minute to meet with Emma and do this house,” Stause said. “This was one of those days that I didn’t have a glam team and I kind of threw myself together and luckily I had that outfit ready, and it ended up working out.”
“The only days that we provide glam are on interview days where they sit on the sofa and talk to the camera, but the rest of the time, that’s all them,” DiVello said about the show’s stars bringing their own sense of fashion to the table.
“I made that decision really early on, in their day-to-day, that we’re not providing anything. Because how you dress, and what you wear, and the bag you carry and the shoes you wear, that’s all a representation of you. That’s your personal style, and I didn’t want to mess with that,” he said.
But the real star of that moment was the daredevil risks taken by Hernan as a horrified Stause watched, camera phone in hand. A scene DiVello asked outright to discuss, “I wasn’t on set that day. But I’m telling you this much, if I was the shooter, [Hernan] never would have walked out on that pool. I don’t think there’s enough insurance in the world to cover.”
Watch the full video above.
