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“These Two Worlds Couldn’t Be More Opposite”: DP Tobias Schliessler on Kiss of the Spider Woman

Two men are sitting on a prison floor. One has his hand near the other's mouth.Diego Luna and Tonatiuh in Kiss of the Spider Woman.

In Kiss of the Spider Woman, director Bill Condon (Dreamgirls, Gods and Monsters) of the 1985 film of the same name amid Argentina’s Dirty War. Set partially in a prison as Molina (Tonatiuh) recounts his favorite Hollywood musical to his cellmate Valentin (Diego Luna), the film blends period realism with Technicolor glamor.

Tobias Schliessler, who has also worked frequently with Peter Berg, served as director of photography on the production, his seventh time working with Condon. Below, he explains how he altered his lighting, equipment, and style to contrast the film’s 1981 prison scenes with its musical sequences, which seek to recreate the Technicolor Three-Strip Camera process.

See all responses to our annual Sundance cinematographer interviews here.

Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job?

Schliessler: I’ve worked with Bill Condon for many years and always jump at the chance to collaborate with him. When he sent me the script, I immediately loved it and was excited by its visual challenges. We’ve tackled films across many genres, but musicals are where we have the most fun—so I was thrilled when he invited me to join Kiss of the Spider Woman. Bill is a passionate, talented director, and it’s truly an honor every time he brings me back. It’s something I will never take for granted.

Filmmaker: What were your artistic goals on this film, and how did you realize them? How did you want use cinematography to enhance the film’s storytelling and treatment of its characters?

Schliessler: The film unfolds between two very different realities—an Argentinian prison in 1981 during the Dirty War and a vibrant Technicolor dream world as Molina retells the story of his favorite old Hollywood musical, Kiss of the Spider Woman, to his cellmate, Valentin. These two worlds couldn’t be more opposite, so it was essential for me to emphasize their contrasts and make creative choices that fully support each environment and era.

For the prison scenes, we wanted the audience to feel deeply intimate with the characters—as if they, too, were confined in the cell with Valentin and Molina. To achieve this, we always filmed within the cell walls despite being on a stage. We often used cross-shooting for simultaneous coverage of the actors, relying on handheld cameras with Easy Rigs to give them freedom of movement within the space. Wide lenses shot up close allowed us to capture every emotion, drawing viewers into the characters’ experience.

Our goal for the Technicolor sequences was to make them as authentic to the musicals of that era as possible. We closely studied films from the period and set creative rules for ourselves regarding camera movement, composition, and lighting, drawing inspiration from the Technicolor Three-Strip Camera process.

It was a challenge to not fall back on how I would normally cover a musical sequence in a modern film, but at the same time, I enjoyed working within these creative boundaries to create a world that felt authentic.

Filmmaker: Were there any specific influences on your cinematography, whether they be other films, or art, of photography, or something else?

Schliessler: For the Technicolor sequences, we drew directly from the great musicals of that era, finding inspiration in classics like An American in Paris, Cover Girl, and Singin’ in the Rain. Bill Condon’s deep knowledge of film history—especially in this genre—was incredibly valuable during prep. He had gathered hundreds of reference samples and had a clear vision for every department, which helped unify our efforts to recreate to magic of those iconic Technicolor musicals.

For the prison scenes, my biggest inspiration came from one of my favorite films, A Prophet by Jacques Audiard. I love how Audiard and cinematographer Stéphane Fontaine captured the raw, gritty reality of prison life so powerfully. That authenticity deeply influenced how we approached these scenes.

Filmmaker: What were the biggest challenges posed by production to those goals?

Schliessler: I think the biggest challenge for me and my team on this film was time. We shot all the musical numbers back-to-back in 18 days, which meant pre-lighting multiple sets at the same time as we were shooting on another stage. I owe so much to my amazing gaffer Ken Shibata, key grip Greg Cahill and their incredible rigging crews.

Filmmaker: What camera did you shoot on? Why did you choose the camera that you did? What lenses did you use?

Schliessler: For the 1981 Argentina/prison scenes, I used the Alexa Mini LF paired with Arri LF DNA Prime lenses, which gave me the raw, filmic quality I was seeking. I love the shallow depth of field and minimal distortion of large-format lenses, and I chose the 29mm and 35mm for close-ups to create a deeper sense of intimacy in the emotional scenes.

Our objective for the Technicolor sequences was to make them as authentic to the musicals of that era as possible. We conducted extensive testing of all available digital cameras and lenses, side by side, using a simulated Technicolor LUT created by my colorist, Stefan Sonnenfeld. The Sony Venice 2 emerged as the best choice, capturing the vibrant colors of our sets and costumes while preserving the natural beauty of skin tones. Complementing this setup were Cooke Panchro FF Prime lenses and Tiffen Black Satin Diffusion Filters, which produced a softer vintage aesthetic while maintaining sharp focus throughout the frame—a hallmark of the Technicolor aesthetic.

Filmmaker: Describe your approach to lighting.

Schliessler: The Technicolor cameras had a very low ASA due to the loss of light caused by the beam-splitting prism, which meant cinematographers often had to rely on hard light to achieve proper exposure. This created a very distinctive visual style. While I love a soft light source, I had to push myself to use hard light to stay true to the era.

For the 1981 scenes, I wanted the look to feel as realistic and natural as possible. Using practical light sources as motivation, we hung top lights in the cell and placed diffused Astera tubes on the ground for the actors’ eyes. This approach was crucial for managing the tight quarters and the cross-shooting of performances. I also kept the color temperatures cooler to enhance the prison’s cold, oppressive atmosphere. As the relationship between Molina and Valentin evolved, we gradually warmed up the frame to reflect the emotional shift in the story

Filmmaker: What was the most difficult scene to realize and why? And how did you do it?

Schliessler: The prison scenes were probably the most daunting for me, given that they were confined to one tight room. It’s a challenge to keep things visually engaging when you’re limited to such a small space, and in Kiss of the Spider Woman, so much of the film takes place in that cell. I’ve faced similar challenges before, having shot most of Ma Rainey’s Black Bottom in a single room, but it never gets easier.

The musical numbers, shot in long master takes without cuts, were particularly difficult and added extra pressure on my camera crew. Operator John Buzz Moyer, first AC Basil Smith, and dolly grip John Moustakas had to be completely in sync, which was nerve-wracking every time they called action for a take.

Filmmaker: Finally, describe the finishing of the film. How much of your look was “baked in” versus realize the DI?

Schliessler: I always aim to do as much as possible in-camera. To achieve the distinct look of Technicolor, we spent weeks testing different LUTs in combination with hair, makeup, costumes and color temperature until we found the right balance. While we enhanced this look in the DI when needed, I always strive to get as close to our desired look as possible during shooting. For the Argentina scenes, we added some grain in the DI but didn’t make any major changes from what we captured on set.

TECH BOX

Film Title: Kiss of the Spider Woman
Camera: Alexa Mini LF and Sony Venice 2
Lenses: Arri LF DNA Primes and Cooke Panchro Classic FF Primes
Lighting: A variety of Arri Skypanels, Fiilex Qs, Litegear Lite Mats, Astera Tubes, and Tungsten Fresnel fixtures to name a few
Processing: Sony 8.6K 3:2, X-OCT ST and ARRIRAW OG 4448×3096
Color Grading: Stefan Sonnenfeld at Company 3

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