“Wireless” is probably the best showcase so far for Quibi’s Turnstyle technology.
That’s the technology that allows the streaming video app to switch seamlessly between landscape and portrait mode depending on the orientation of your phone. With other Quibi shows, you’re essentially getting two views of the same footage — but with “Wireless” (which is executive produced by Steven Soderbergh), you’re switching between traditional cinematic footage (in landscape) and a view of the protagonist’s phone (in portrait).
In this bonus episode of the Original Content podcast, director Zach Wechter told me that he and his co-writer Jack Seidman wrote the initial script — about a college student played by Tye Sheridan who gets trapped in the snow after a car crash, with only his iPhone to save him — before they decided on the phone-centric format. But when they heard about Turnstyle, “It just felt like a match made in heaven that would allow us to facilitate this idea.”
I wondered whether that required going back and adding a bunch of phone interactions to the story, but Wechter said, “It was quite the opposite. One thing we found in testing was when the phone plot moved really fast, it would be hard, because there are these two perspectives happening at once.”
So that actually meant “reducing some of the intricacy of the plot happening on the phone” to ensure that viewers didn’t get lost.
And if you’re wondering which mode to focus on as you watch, Wechter has some simple advice: “Go with your gut.” He said he had a “road map” for when he was hoping to nudge viewers to turn their phones — like when there’s a notification sound or Sheridan focuses on his phone — “but I think the most important part of the experience is that we’re not indicating when our viewers turn, that it becomes this sort of passive-but-active viewing experience.”
Wechter described making the show — essentially a feature-length film divided into episodes of 10 minutes or less — as shooting “two films that had to dance together” in just 19 days. And he made things even more challenging by insisting that all the phone/FaceTime calls and even the text messages be filmed live, rather than just recording both ends separately.
“When I think about directing and my job, really the most fundamental part of it to me is making the actors comfortable, and I think that having a scene partner is paramount,” he said. “It was a long conversation about why we couldn’t just have them act off of a recording and shoot it separately — because it took a lot of logistical effort and resources to do it — but it really makes the scenes feel very alive and realistic.”
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