Shutter Angles
Conversations with DPs, directors and below-the-line crew by Matt Mulcahey
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“If You Want That Melodramatic Shaft of Light, You’d Better Mean It”: DP Sam Levy on Shooting Lady Bird
There’s a tradition of young directors looking for inspiration in the bygone eras of their adolescence. For George Lucas in American Graffiti, it was the California car culture of the early ’60s. For Richard Linklater in Dazed and Confused, it was the Texas high school rituals of the ’70s. And for Greta Gerwig in Lady Bird, it’s Catholic school and the suburban doldrums of early-aughts Sacramento. Written and directed by Gerwig, Lady Bird follows the titular character (Saoirse Ronan) through her senior year of high school as she fights with her mom (Laurie Metcalf), pines for a philosophical dilettante from the… Read more
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DP Rachel Morrison on Mudbound, Her Ideal Extinct Film Stock and Using Waveform Monitors
In Mudbound, a friendship between two returning soldiers – one white (Garrett Hedlund) and one black (Jason Mitchell) – sets a pair of neighboring farming families on a path to tragedy in post-World War II Mississippi. For cinematographer Rachel Morrison (Fruitvale Station, the upcoming Black Panther), filmic references for the harshness of agrarian life in the Jim Crow South were few and far between considering the Hollywood studio offerings of the era were preoccupied with propagandistic war movies and opulent musicals. Instead, Morrison looked to the Depression-era photography commissioned by the Farm Security Administration – specifically the work of Gordon… Read more
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DP Dan Laustsen on The Shape of Water, Judging Exposure without a Meter and Capturing Rich Blacks
There’s a line in Bob Dylan’s “Brownsville Girl” that goes, “(It’s) strange how people who suffer together have stronger connections than people who are most content.” Suffering together connected director Guillermo del Toro and cinematographer Dan Laustsen on the set of 1997’s Mimic. The Miramax-produced giant insect creature feature marked the first American effort for del Toro and just the second studio gig for the Danish Laustsen. The experience was not a pleasant one. As del Toro put it during an on-stage interview at the BFI London Film Festival last October: “Two horrible things happened in the late ’90s: my father… Read more
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All the Magician’s Tricks: DP Brandon Trost on The Disaster Artist
In Wes Anderson’s Rushmore, Jason Schwartzman plays a precocious prep school student whose interests include staging age-inappropriate plays like Serpico. Rushmore’s crew had its own precocious teenager in 16-year-old Brandon Trost, who worked on the film as an assistant to his dad/special effects coordinator, Ron. “I grew up on set with my dad. I’ve never had a job outside of the film industry,” said Trost, who was working on set by the age of 12. “You would think that growing up in movies would ruin the magic for you, because you know everything that goes into putting a movie together. But… Read more
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DP Erik Messerschmidt on Shooting Netflix’s Mindhunter with a Custom Red Xenomorph
When mere mortals gear up for a job, they are restricted to selecting cameras currently in existence. Not David Fincher. Fincher has long hated all the gak required to make a digital cinema camera functional: a wireless transmitter to get signal to video village, the add-ons to provide wireless iris and focus control, the assistant camera’s onboard monitor hanging off the side — all the things that turn a small, lightweight camera body into a labyrinth of cables and breakout boxes. Red Digital Cinema responded by making Fincher his own set of custom Weapon Red Dragons for use on the… Read more
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Poisonous Seaweed, Meddling Weinsteins and the Stench of Broccoli: Johannes Roberts on 47 Meters Down
If you happened to find yourself browsing through Walmart’s aisles in August of 2016, you may have come across a DVD titled In the Deep. Unless you particularly fancy Mandy Moore or Matthew Modine, there’s no reason you would’ve paid the movie’s shark-laden cover any particular attention – not with the glut of sharknados and sharktopuses gliding through the B-movie waters. Yet one year later that very same film – rechristened with its original title 47 Meters Down – debuted in American theaters on its way to a $40-plus million box office run. How did a movie seemingly resigned to the abyss… Read more
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It Comes at Night DP Drew Daniels on New Lenses, Old Dogs and Using Actors as Bounce Cards
As the end credits rolled after my screening of Trey Edward Shults’s It Comes at Night, a perturbed woman behind me angrily groused, “This is bullshit. WHAT comes at night?” In her defense, the mesmerizing trailer for the film from A24 certainly leads you to believe something is in fact coming at night — a concrete something, not a metaphoric something. But no horrific, plague-mutated creatures ever arrive at the red door that separates the apocalyptic outside world from the isolated home of Paul (Joel Edgerton) and his family (wife Carmen Ejogo and son Kelvin Harrison Jr.). What does come… Read more
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DP Andrew Droz Palermo on A Ghost Story, Shooting 1.33 and That Pie Shot
The polarity between director David Lowery’s $65 million Disney film Pete’s Dragon and the micro-budgeted A Ghost Story has been noted repeatedly in reviews and profiles. But the man behind the camera on A Ghost Story has a unique career trajectory of his own. Cinematographer Andrew Droz Palermo made his feature debut with Adam Wingard’s tone-mashing home invasion horror flick You’re Next in 2011. He followed that by co-directing a documentary (Rich Hill, an affecting character study of Missouri teens living in poverty) and a narrative feature (One and Two). Palermo is back in director of photography mode on A… Read more
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“Every So Often a Train Would Come Rumbling By and the Set Would Shake”: DP Doug Emmett on Shooting HBO’s Room 104
An octogenarian couple returns to the hotel room where they spent their first night together — it’s a logline that would typically preface an elegiac rumination on love and mortality. But by the time that set-up arrives in the season finale of HBO’s new anthology series Rooms 104, it seems just as likely to give way to horror or violence…or interpretive dance. That’s the joy of the newest Duplass Brothers creation — each episode begins as a blank slate capable of unexpectedly evolving into any genre or tone. The 12-episode series — which debuted last Friday night — unfolds entirely… Read more
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“Was Everything in Focus?”: Wonder Woman DP Matthew Jensen on Shooting 35 and Digital and How Tequila Sunrise Inspired His Career
I have to admit I can no longer distinguish 35mm film from high end digital cameras when I go to the movies. I can spot 16mm or anamorphic lenses, but the line between digital and 35mm celluloid has become impossibly blurred. Wonder Woman cinematographer Matthew Jensen can still spot the subtleties, but for Jensen the aesthetics of film are only one of the reasons he enjoys working in that format. “It’s very hard to tell the difference, especially when you’ve gone through a DI (digital intermediate) process and you’re projecting digitally. We have some shots that are digital in Wonder… Read more
