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Tag: shot list

  • How Do You Make ‘The Substance’? Start With “a Volcano of Blood”

    How Do You Make ‘The Substance’? Start With “a Volcano of Blood”

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    Fargeat: The thing that is quite philosophically funny is that once we finished shooting the apartment, we destroyed the set and we built this theater in the same space. So basically, it’s built on the ashes of the apartment.

    The shooting took so long that we couldn’t finish everything in prep; prep was continuing while we started shooting. We had first thought about shooting in a real theater to use a real set. The theaters we visited had read the script like, “It’s going to be splattered in blood. Oh yes, that’s funny!” They wanted to welcome us with their arms open. And when everyone understood how much blood I wanted to splatter here, for real, the executive producer said, “Okay, I don’t want to finish in jail. We can’t shoot in a real theater, because there is no way we can protect it in a way that it’s not going to be destroyed.” So very soon after that, we understood that the only way to get to do this technical challenge was to build our own sets.

    Kracun: It was a proper blood opera, wasn’t it? Everything had to be waterproof. It was going to go everywhere. All the lights were waterproof. We did design a lighting show for the beginning with little spotlights, and had [the monster] follow the spot and things like that. This is how the whole film worked, in a way, because we were constantly pushing to see what we could find and discover.

    Fargeat: It was a massive technical challenge of how to spread the blood, how to protect the elements, how to keep everyone safe. But it was also, I must say, so much fun to be able to lose ourselves in this tsunami. I remember Ben getting into white protection gear with all the crew to protect themselves, pushing the dolly on the massive track among a tsunami of blood. The behind the scenes for this is heroic. We were navigating a volcano of blood, and we all had our hands in the thing. I was splattering it for real myself with the hose and a helmet that I had, and filming that at the same time. Ben was with another camera in the crowd, and navigating following the stunt people. We didn’t know until the end if it was going to work. Once we were on set in this massive pool, our faces totally covered in red, we hugged each other and we said, “We did it.”

    This interview has been edited and condensed. Awards Insider’s Shot List spotlights the year’s most impressive cinematography.

    Listen to Vanity Fair’s Little Gold Men podcast now.

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    David Canfield

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  • In ‘Society of the Snow,’ Precise Historical Recreation Meets Deeply Spiritual Interpretation

    In ‘Society of the Snow,’ Precise Historical Recreation Meets Deeply Spiritual Interpretation

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    The film opens with generous portraits of many of the characters we’ll later follow in the mountains, as they lead relatively calm and fulfilling lives. Our main narrator is Numa (Enzo Vogrincic Roldán), a young man from a conservative, religious family. He’s introduced in what’s a typical moment for him, a signal of the transformation to come.

    J.A. Bayona: The whole film is a journey to a place where Numa can make this self-discovery of who he really is. He needs to understand what is his shadow, what is his real nature. And somehow, by doing so, he needs to pray with that culture. To me, it was important to reflect the context he’s coming from. This is a real church in Montevideo; this is actually one of the churches that probably Numa went to many times in his life with his family. It’s very close to where he used to live. We are shooting in the same locations where the story happened. We really wanted to be very close to the reality.

    Pedro Luque: Uruguay is a place that’s very green. It has four seasons. It gets cold and it gets hot, but it’s a pretty uneventful place. The highest altitude that you can get in Uruguay is 1,400 feet. It’s a nice place to live—nothing to do with the harshness of the Andes Mountains where they end up finding themselves. At the beginning of the movie, we set up this comfortable life that these people have—how warm it is, how happy they are, how loved and cared for, and how much of a support they have in their whole lives. This image, in a way, finds Numa in a warm environment. It’s cozy.

    Bayona: It’s the spirit of being young. This is the frame that you can find in a movie like The Deer Hunter, for example. Movies from the ’70s, wide-screen. There’s a sense of the set, the location, enhancing the characters and what they are going through. There’s something very interesting with this scene, actually—I didn’t want to feel solemn, especially referring to religion. So there is this thing going on where a character feels kind of funny, passes a note to Numa. It’s a setup for something that will happen later on. We didn’t want to feel too heavy. There’s this element of comedy, which is totally the opposite of the scene that you will see later on when Numa passes a note to his friends in the mountain—which is not comedy at all.

    The Storm

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    David Canfield

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  • A Deep Dive Into The Zone of Interest’s Chilling Presentation of Evil

    A Deep Dive Into The Zone of Interest’s Chilling Presentation of Evil

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    Jonathan Glazer reveals how he used AI, thermal photography, ambitious visual effects, and more to create a Holocaust film unlike any other.

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    David Canfield

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  • The Heartbreaking Confessions, Hot Sex, and Sweaty Nightclubs of ‘All of Us Strangers’

    The Heartbreaking Confessions, Hot Sex, and Sweaty Nightclubs of ‘All of Us Strangers’

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    Writer-director Andrew Haigh and his DP take Vanity Fair inside the making of their acclaimed film’s most striking scenes—from the sexiest to the saddest to, yes, the strangest.

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    David Canfield

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  • How ‘Asteroid City’ Became Wes Anderson’s Most Visually Ambitious Movie Yet

    How ‘Asteroid City’ Became Wes Anderson’s Most Visually Ambitious Movie Yet

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    Yeoman: It’s very difficult to try to blend comedy and grief in the same scene. Jason was able to portray both things within the scene. We shot it during the middle part of the day in a harsh sunlight. Jason’s angle actually is a little bit backlit at that point, but if you look at the other, the shots of the kids from the side, the side angles, they’re very kind of harshly lit, front-lit, a lot of harsh midday sun. In a movie that Wes isn’t directing, I would be inclined to throw a giant silk up and just try to soften the whole thing out. But Wes wanted to have that feeling. Before we started shooting, we looked at movies, The Bad Day at Black Rock and Paris, Texas, and how they use the sun in those movies to become really a character. They weren’t afraid of shooting at midday, and they weren’t afraid of harsh sun, which is typically, for most cinematographers, something you prefer not to do.

    In all honesty, I was a little skeptical about that approach at the beginning, but as I saw more and more of our dailies, I grew to really embrace it and realized that we were creating a world. You’re out in the desert in the middle part of the day. During the digital intermediate in post, we took a little contrast out, and it kind of took a little bit of the edge off that hard light, I think. But again, it was all natural light. I would’ve shot it way later in the day if I was scheduling it, but we kind of wanted to embrace that feeling.

    Anderson: I don’t think it’s such harsh sunlight, this scene. I don’t love to have everything be backlit with, I guess, what I look for, is some simplicity in it in terms of the lighting. But to me, Jason’s character and role is the center of the whole movie, and this scene is a crucial one, and so for me, it was just, on the set, I’m just an audience member. Jason was so good playing this scene and so surprising. He’s just so interesting, and so for me, this scene is one of the crucial ones along with the other one with him and Margot Robbie. Those two scenes are the tentpoles of the movie.

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    David Canfield

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  • Inside Todd Haynes’s Twisted, Ingenious Vision for ‘May December’

    Inside Todd Haynes’s Twisted, Ingenious Vision for ‘May December’

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    This shot marks the first moment we see Gracie and Elizabeth in a mirror together, as they gather for a day of graduation-dress shopping for Gracie’s daughter, Mary (Elizabeth Yu). The scene turns tense when Gracie casually humiliates her daughter by insulting her favorite selection—with Elizabeth closely attuned to every beat in the chilly back-and-forth.

    Todd Haynes: Making the film was a process of thinking about the mirrors in scenes in the movie, and using the lens of the camera as the actual mirror that actors would look into for their own reflections of themselves. But this scene kept expanding and getting more complex.

    Christopher Blauvelt: The challenge was how to hide the camera and which angles the mirrors were going to be; when you have any mirror on any set, it’s difficult because you’re hiding lights and stands and everything. I always stare at the little vanity over Natalie’s shoulder because that’s where the camera is hidden. Also, it’s great conceptually. When I watch the film and see how it works and integrates into our multiplicity of what’s happening within the story, it makes so much sense. Your eye can go in any direction. We play it mostly as a one-er, and so it relies a lot on their performances, which are just immaculate.

    Haynes: This is the only mirror scene in the movie where we literally shot through a two-way mirror and hid the camera behind the mirror. All the other mirror scenes, there is no mirror; the actors are just looking at the lens and playing it as a mirror. This took the most preparation of anything because it was so complicated. Sam Lisenco, the production designer, was…like, “Wait a minute. What if we put a mirror here, and a mirror there, and then we see the walking from the dressing room?” And to be honest, Chris, at first I was like, Oh my God, this is just going to be maybe too much!

    What you’re starting to watch is the two women watching themselves and each other in a relay. This scene is the most complex because it has Mary coming and going, and Natalie has just done her first interview in the course of this investigative part of the story, where she talked to Gracie’s first husband. But it’s so much about female bodies, the mirroring of these two women, how femininity gets passed on in corrupting ways from mother to daughter, and the spectacle and the humiliation of that being witnessed, again, in mirrors upon mirrors.

    The Walk

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    David Canfield

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  • How ‘The Royal Hotel’ Pulls Off the Most Potent Cinematic Tension of the Year

    How ‘The Royal Hotel’ Pulls Off the Most Potent Cinematic Tension of the Year

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    Green: This was one of the few frames we didn’t storyboard. We didn’t know that the glass break would be that big enough of a hole to be able to see through it; we didn’t know that that view from the pub was that barren. There’s so nothing out there, which is really incredible. The light’s doing really magnificent things. We just lucked out with the car crash, which we didn’t have time to move. If we were a big Hollywood movie, we’d have time to move the car, but we literally had 20 minutes of dusk or whatever, so we had to just shoot through that door. It happened to line up exactly that the car was where it needed to be. The boys could fight on the left. The girls could hug on the right. We could have this beautiful image that showed those two worlds.

    It was a horrible timing thing. We got two nights of dusk—half an hour, maybe an hour for two nights. We had to crash a car and have a fight and do all these things in that amount of time, which meant, again, only four or five shots.

    Latham: This is one of only two scenes where we used two cameras, purely for time reasons. I can’t remember exactly how it played out. I feel like someone was dressing the door, and then the door closed. I was like, “Hey. Check this out. This is quite interesting.” [Laughs] We were very fortunate in that the car landed in the right spot and et cetera. In terms of achieving that, we did a lot of technical rehearsal time prior. We had a backup car, but we only crashed the one car. So it’s a one-take wonder in terms of the actual accident, because we also knew that to reset that car would take something like two hours to do. We didn’t have that time.

    Kitty and I had a lot of conversations about what time of day what scene would be. We really wanted to move into dawn, because you needed that delineation that time has jumped between her taking a shot at the bar and then waking up and the guys have come back. Without that, it gets very confusing. In terms of achieving it, the simple way of saying it is essentially it’s just different shades of blue and different intensities of light coming through the window. At the earliest crack of dawn, it’s very blue. The light coming through the window is not affecting the set or the subjects as much as later on. Each time we moved from downstairs to upstairs, the shade of blue would be less and the intensity would be brighter. Then when we came back down, it would essentially do the same thing.

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    David Canfield

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  • Behind The Marvelous Mrs. Maisel’s Dazzling, Innovative Cinematography

    Behind The Marvelous Mrs. Maisel’s Dazzling, Innovative Cinematography

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    In the fourth season, Midge takes a job as comic emcee at the Wolford, a burlesque club in Manhattan. In the season finale, for which Mullen received his fourth nomination, this precisely choreographed shot zoomed through a typical performance at the venue, spotlighting each of the dancers, seemingly, without a cut.

    The question was, How do we do this shot? It’s very hard to coordinate elaborate moves because you’ve got to have multiple people time themselves, and Amy prefers talking to one operator. And I know she’s always happiest when we could do things with a Steadicam. So I asked Charlie Sherron, our key grip, if there’s any way we could hide a crane platform behind the set that [camera operator] Jim McConkey could step backwards onto, be lifted up to the second floor, and then dollied on while riding the crane to the other end of the set, be lowered, be disconnected, then step off and then back out again. So we had to build a wooden ramp to allow Jim to walk up onto the tongue of the stage, which we put carpeting on, and it’s sort of darkly lit, so you don’t really focus on it, but there is this ramp that he goes up onto the stage and then he walks into the room.

    In this still frame, you can actually see the arm of the crane diagonally behind that pink mirror on the bottom-left corner. Charlie Sherron had to take a chain saw, cut away part of the set to make room for the weight bucket of the crane. So the bucket is to the left. The base of the crane is on the floor behind that curtain. So a grip steps off, Jim steps on, it lifts off, it gets dollied across, lowered again, a grip steps back onto the crane, and Jim steps off it again. At this point, visual effects had to paint out the crane in the second position because there was no way to dolly it completely out of view.

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    David Canfield

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  • Inside Elisabeth Moss’s Gorgeous, Rigorous Direction of ‘The Handmaid’s Tale’

    Inside Elisabeth Moss’s Gorgeous, Rigorous Direction of ‘The Handmaid’s Tale’

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    The Emmy winner is joined by D.P. Nicola Daley to dive deep into standout shots from the visually striking show, a showcase of Moss’s transition from top-tier actor to top-tier filmmaker.

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    David Canfield

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  • The Images of Tár: “I Felt Like I Had to Really Step Up and Deliver Here”

    The Images of Tár: “I Felt Like I Had to Really Step Up and Deliver Here”

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    The availability of the Dresden Philharmonic, the group which stands in for Lydia’s fictional orchestra, was tight—so tight, in fact, that production had to begin with their scenes or they’d lose them altogether. This meant actors like Blanchett had to dive right into the conducting and musical work—and that the crew, too, had to kick things off with a bang.  

    Todd Field: We had to  marshal our energies and push them straight into this, full force. These were very, very short days because you only get an orchestra for, at most, 10 hours, and that doesn’t include their breaks and them eating. I think the first day we did something like 96 setups, and that was something that Florian and I planned for weeks and months, trying to figure out what those setups were. I don’t typically use storyboards unless that’s absolutely necessary, but in this case it was essential. 

    Florian Hoffmeister: When we started talking about the film, Todd was very adamant to emphasize that this is a working space. It’s not glorified, it’s hard work; they go in there, they rehearse all day. Authenticity was paramount. At first sight, you might think it limits the lighting, but I found it actually terribly liberating to approach the space with this theme. And Todd always said from the beginning, we should never move the camera—the golden rule. I still remember the first time that orchestra played, you just fly away. There’s this instant feeling the camera wants to move with the music.

    Field: When you look at rehearsals of orchestras, there’s some very rich footage of watching rehearsal processes. And once you go down that rabbit hole, you stay there—at least for me, watching people rehearse is infinitely more interesting than watching performance. There’s nothing fancy about the way that that is documented. It’s typically one or two cameras with a couple of boom mics and people getting what they can. Either the camera is inside the orchestra or adjacent to the orchestra. That was the approach for this. It was, by design, really banal. 

    Hoffmeister: Though if it were truthfully banal, it would be quite an appalling space. The tightrope on which you walk is how you can create an image that is arresting and inviting and allows the eye to wander, within these rules. How do you shape that? We were lucky in the sense that the German music industry is highly regulated, to the extent that the luminance on their note sheets has to have a certain brightness. So, by contract, the concert hall has to have a certain brightness so they can read their notes!

    Great Debate

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    David Canfield

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  • The Images of ‘All Quiet on the Western Front:’ Using Light to Capture the Darkness of War

    The Images of ‘All Quiet on the Western Front:’ Using Light to Capture the Darkness of War

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    If there’s one international feature that has the potential to break through with multiple Oscar nominations this year, it’s looking more and more likely that it will be All Quiet on the Western Front. The German-language adaptation of Erich Maria Remarque’s 1929 novel is Germany’s submission in the international-feature category, and it also made the short lists in four other categories, including original score and visual effects.

    Currently streaming on Netflix, All Quiet on the Western Front is epic in scope, following idealistic 17-year-old Paul Bäumer (Felix Kammerer), who comes to realize the horrors of war after he is sent to the trenches on World War I’s Western Front. Directed by Edward Berger, the drama balances the violent tragedy of war with stunning cinematography, shot by James Friend. Filmed in the Czech Republic, Friend uses mostly large-format cameras, taking the viewer through the muddy trenches of war and intense, heart-racing battle scenes.

    Berger and Friend tell Vanity Fair that Paul’s journey was their constant North Star. “Every decision that was made in terms of where to place the camera is to put the audience into Paul’s shoes,” says Berger. “We immediately thought, Alright, it’s one boy’s story, so it’s one camera. We basically only used one camera, and we had another camera to leapfrog to the next location.” Here, Berger and Friend take us through six of their favorite shots from the 52-day shoot, including the harrowing moments on the muddy battlefield and a snowy surprise. 

    The Battlefield

    Courtesy of Netflix. 

    Courtesy of Netflix. 

    The scenes at the Western Front trenches were filmed at an abandoned ex-Soviet air base in the Czech Republic town of Milovice. “The location was a real gem. When you are embarking on a picture like this, you’re only as good as what you can really photograph,” says Friend. 

    The air base had two runways with an enormous plot of land between them, so the team tore it up to build the trenches, with mud-filled craters running as deep as 20 feet. At one point, Friend even found himself stuck in one, sinking deeper every moment. “We had to get a crane to get him out of the mud,” Berger says with a laugh. “You can basically drown in the mud. It’s basically quicksand.” Almost every scene in the trenches was shot on location, says Friend, who, along with Berger, felt that shooting these scenes practically would provide authenticity. The explosions were also practical. 

    Where movie magic did have to step in was when it came to the background actors. Friend says they bunched up all the extras they had for this first shot, to make it look like the German army was being attacked by a giant enemy force. “In the magic of cinema, you give the illusion that there’s actually a thousand people running across a battlefield at once. It was fantastic,” he says.

    The machine gun captured in this image was around 100 years old, creating another problem for the filmmakers when it came to time. “They’re not very reliable. They jam, basically, every five seconds,” says Berger. With only 52 days to complete the film, Berger and Friend needed every moment. They spent several months before the shoot holed up in a hotel in Berlin, storyboarding every single shot. “I genuinely feel that I’ve never gone into a project so prepped before,” says Friend. 

    SCENE-STEALING SNOW

    Courtesy of Netflix. 

    After the war has just ended, Stanislaus “Kat” Katczinsky (Albrecht Schuch) and Paul sneak into a home to steal some eggs or a goose for a celebratory dinner with their fellow soldiers. It was a cold February morning on set, and the sudden arrival of snow created what Berger calls one of his favorite moments in the movie, when Kat is standing guard and there’s a quiet moment when he seems to know his fate. “He stands there and looks up at the snow, and he knows. It’s just a really melancholic, beautiful moment, and the snow made that,” says Berger.

    But the snow wouldn’t even last the whole day. Three hours later, it had melted and Berger and Friend were concerned they’d have to reshoot the whole sequence for continuity. But the producers stepped in and found it in the budget to add in snow visual effects for the rest of the scene so that moment could remain. “You take away the snow element, and it’s still, in my opinion, a beautiful scene,” says Friend. “But it’s nowhere near as beautiful, nowhere near as poetic.” 

    CHECKING IN

    Courtesy of Netflix. 

    In the center of Prague, there’s an art gallery that has this stunning ceiling that Berger and Friend fell in love with. “It’s such a unique location that contrasts other locations in the film—it would’ve been irresponsible not to have shot there,” says Friend. To light the colorful ceiling, Friend was able to stick lighting balloons between it and the upper ceiling and inflate them to get that continuity of light. 

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    Rebecca Ford

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  • The Images of ‘Nope’: How Jordan Peele Captured the Impossible

    The Images of ‘Nope’: How Jordan Peele Captured the Impossible

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    Peele: Hoyte, I want you to be able to describe as much of the technique here as you want to. There was a brief period where I offered Hoyte the job of cinematographer for this film. And he very graciously declined because he had a conflict at that time. I was like, “All right, we’ll find something.” And in that time, I went to a few of who I regarded as some of the other best cinematographers in the world. Everyone concluded that shots like this in my script were impossible. About a month later, I don’t know why, but I went back and knocked on Hoyte’s door, and he said, “Actually, timing-wise, this might work out now. And by the way, that is impossible—and I have a couple ideas.”

    Van Hoytema: The impossibility that Jordan is describing is very much in effect. We were about to photograph very big landscapes that also needed to feel big at night. And simply, there’s no technology that can do that. Now, traditionally in filmmaking, people have been doing that by shooting nights during the daytime—“day for night,” it’s called. These always have a very specific look. Especially in old westerns, Lawrence of Arabia, they utilize day for night a lot; things that are shot at sea, everywhere where there’s no practical light available, et cetera, et cetera.

    The only thing is that we both didn’t completely love that look. As an educated filmmaker nowadays, you recognize it and it never feels like actual night. So we started engineering and we came up with this solution in which we were going to shoot day for night, but we were going to acquire one layer of our images through a very different camera than our main camera, meaning an infrared camera. We found out that infrared, used during the day, gives a very similar balance between lightness and darkness as the light does during the night. Unfortunately, it’s a black and white camera natively, so you can in a way approximate the relationship between the exposure of different objects, very similar to how things would look at night or how your eyes would perceive night. So then we utilized another camera that would shoot simultaneously, and they would be aligned on top of each other. The mixture of those two cameras is what gives us this specific look. 

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    David Canfield

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  • How ‘Armageddon Time’ Became a Ghost Story

    How ‘Armageddon Time’ Became a Ghost Story

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    In a film that happens almost exclusively from Paul’s point of view, Johnny’s home life is viewed only briefly, and when he stays in Paul’s backyard, Paul seems willfully unaware of the precarious position Johnny is in. In this scene, Gray says, “Johnny is sort of leaning into the light and leaning back away from it. That was the idea of it—that that identity for us becomes elusive.”

    Courtesy of Focus Features.

    This scene between father and son happens after Paul has done something catastrophic, encouraging Johnny to help him steal computers from his fancy new private school, only for both of them to wind up at the police station. Paul is unwilling to let his friend take the fall, but his father arrives to rescue him anyway, leaving Johnny—whose only parental figure is an ailing grandmother—to fend for himself. 

    In the car afterward, Strong’s Irving delivers a monologue that sums up the film’s complicated attitude toward the striving American dream. Only a few decades removed from the Holocaust, Irving is keenly aware of the discrimination faced by Jews, and feels compelled to take any advantage presented—even at the expense of other minorities, or a friend like Johnny. “It would be imbecilic of the film to try to say that the father’s speech is this lesson the kid learns and then he becomes a better kid,” Gray says. “No, what happens actually is the kid is introduced to an ever more complex, layered, and elusive world. The answer, if we can even call it that, is actually further away, not closer, the older you get.” 

    As in so many other scenes in the film the actors are slipping in and out of the light, designed by Khondji to mimic the street lamps of the period. “It was all about the face-to-face,” Khondji says. “Both their faces are incredible.”

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    Katey Rich

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  • The Images of ‘Everything Everywhere All at Once’: Absurdity, Authenticity, and a Lot of Improvisation

    The Images of ‘Everything Everywhere All at Once’: Absurdity, Authenticity, and a Lot of Improvisation

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    Daniel Kwan and Daniel Scheinert, collectively known as the Daniels, first met cinematographer Larkin Seiple when they worked on a music video for Foster the People’s 2012 song “Houdini.” The most ambitious project they had worked on to date (they had a list of 70 setups), the music video sees the band killed in an on-set accident and their corpses controlled by puppeteers to become a pop boy band. “Not only did he understand the assignment of it’s about the narrative and it’s about the absurdity, but he just elevated every image in a way where we were like, ‘Oh, my God, I didn’t know our work could feel this good,’” Kwan tells Vanity Fair. 

    Seiple, who also teamed with the Daniels on their 2016 feature debut, the farting-corpse black comedy, Swiss Army Man, says he’s had one job on every project he’s worked with the directing duo: try to ground it in reality. “They go really big with the ideas—almost to a disruptive point. They’re challenging the audience to be like, ‘Can you still follow this? Is this bit too funny? Does it break the character?’” says Seiple. “I’m the janitor, if you will. I’m just constantly trying to clean things up that are crazy, and make them feel ordinary.”

    That challenge reached peak levels with Everything Everywhere All at Once, the genre-jumping epic that follows Evelyn Wang (Michelle Yeoh), a laundromat owner who is recruited to travel through the multiverse and fight off an evil force set on imploding the world. “How do you keep the audience believing in and rooting for characters in a universe that has hotdog hands or there’s a talking raccoon or there’s someone beat to death with a dildo, there’s a butt-plug fight?” says Larkin. “The lighting and the execution of the camera work makes it feel real and visceral. So you get to enjoy the humor of it, but you also get to enjoy the emotional journey. You don’t get swept away in the absurdity.”

    The end result of this collaboration is a visually stunning film that has intense martial arts fights, wild futuristic settings, and, yes, butt plugs—but all true to the film’s deep emotional core. For Vanity Fair, Seiple and the Daniels broke down the “happy accidents” and unconventional methods that resulted in six of their favorite scenes. 

    The Opening Scene

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    Rebecca Ford

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