“I’ve met many Marty Mausers over the centuries. Some of them crossed me, some of them weren’t straight. They weren’t honest. And those are the ones that are still here. You go out and win that game, you’re gonna be here forever, too. And you’ll never be happy. You will never be happy.” –Milton Rockwell

The American Dream promises that anyone — regardless of creed, ethnicity, or origin — can rise to the top through enough hard work and a little tenacity. But there is a dark underbelly to that promise. What happens when the drive to win metastasizes into an obsession? What happens when a man refuses to stop, even if it means sprinting into the abyss, consumed by the terrifying need to secure his legacy at any cost? 

Josh Safdie has built his career on these high-wire acts. He specializes in character-driven narratives that trap the audience in the headspace of protagonists consumed by hubris and shortsightedness. These characters live violently in the present, blind to a future they are mortgaging for a momentary win. It is a cinema of anxiety, where we become accessories to every harebrained scheme and desperate gamble, feeling the walls close in alongside the anti-hero.

(SPOILERS AHEAD!)

Marty Supreme introduces the next evolution of this Icarus archetype — a man willing to leap from a tower on man-made wings, convinced he can soar to the heavens before the wax melts. Above all, Marty Mauser (Timothée Chalamet) seeks dominion over a sport the world largely dismisses: table tennis. Marty wants to be an ambassador, an icon, a legend. He has the charisma. The talent. The determination. But he lacks the fortune — so he decides to create his own, regardless of the collateral damage.    

So, what happens when the world refuses to respect your dream? Do you fold, or do you burn the house down to prove you were right?

This is the visual language of obsession; this is the aesthetic of a man willing to go to hell and back to achieve greatness.

This is The Look of Marty Supreme.

⍟ MARTY SUPREME TECH SPECS ⍟

• Runtime: 2 hour 29 minutes (149 minutes)
• Color: 
  • Color 
  • Black and White (newsreel scenes)

• Aspect Ratio: 
  • 2.39 : 1

• Camera: 
  • Arricam LT, Panavision B-, C-, E-Series and PVintage Lenses
  • Arricam ST, Panavision B-, C-, E-Series and PVintage Lenses
  • Arriflex 416, Panavision Primo Lenses (some shots)

• Negative Format: 
  • 16mm (Kodak, some shots)
  • 35mm (Kodak Vision3 500T 5219)

• Cinematographic Process: 
  • Digital Intermediate(4K, master format)
  • Panavision(anamorphic, source format)
  • Super 16(source format, some shots)
  • Super 35(source format)

• Printed Film Format: 
  • 35 mm(Kodak)
  • 70 mm(blow-up)
  • DCP Digital Cinema Package

🏓 THE WORLD OF MARTY SUPREME 🏓

The Safdie brothers have always excelled at entrenching their audience in the granular details of the American Jewish experience. Much like Uncut Gems, Marty Supreme is deeply rooted in its rich culture, particularly in Brooklyn. 

The specter of the war looms large over the film’s 1950s setting. The memory of the Holocaust is fresh, anti-Semitism simmers beneath the surface, and the geopolitical trauma is personified by characters like Milton Rockwell (Kevin O’Leary), who blames the Jewish people for the loss of his son in the war. This tension culminates in the film’s climax: a politically charged table tennis matchup between an American Jew and a Japanese champion.

THE REAL MARTY AND THE UNDERGROUND HUSTLE

While Timothée Chalamet’s Marty Mauser is a fictional creation, his DNA is directly extracted from the real-life legend Marty Reisman. Known as “The Needle” for his slender frame and sharp wit, Reisman was the undisputed king of the table tennis underground. Safdie was drawn to Reisman’s autobiography, The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler, seeing in it a dark, twisted metaphor for the American Dream. Like Mauser, the real Reisman was a flamboyantly dressed hustler who viewed the sport not just as a game, but as a vehicle for survival and self-mythology.

This ambition played out in a specific, gritty ecosystem that the film painstakingly recreates: the underground ping-pong parlors of 1950s New York. Far from the suburban rec rooms of popular imagination, places like Lawrence’s Broadway Table Tennis Club were smoke-filled dens of iniquity located in the heart of Times Square. This was a true counterculture, a sanctuary for a motley crew of New York’s “misfits, weirdos, and grifters.” In this subterranean world, the lines between sport and survival blurred, where gangsters, artists, and hustlers rubbed shoulders over high-stakes matches played under the harsh glow of tungsten lights.

CLASS, AMBITION, AND THE WORLD OF BROOKLYN

While the 1950s are often remembered as an era of affluent, white-picket-fence America, the Safdies present a working class Brooklyn defined by stark class divides. We see a clear line between the struggling working class and overwhelming, inaccessible wealth. For Marty, money is a desperate need that fuels his ambition to become the face of table tennis.

This desperation drives the narrative from the very beginning, kicking off with Marty taking money from his uncle’s shoe store vault — money he claims is “owed” to him — to fund his trip to the table tennis competition in London. His relationship with that capital is also performative and careless. For example, he upgrades his hotel suite at the Ritz and pays for Milton Rockwell’s dinner just to project confidence and brag about prize money he hasn’t yet won. 

Marty Supreme | A24

He leverages this hubris into a hustle, pitching Rockwell on a sponsorship deal and suggesting that table tennis is the perfect vehicle to market Rockwell’s ink business. But when he loses, the reality of his financial precarity hits hard. The champion-to-be is forced to recoup costs in a humiliating fashion: playing table tennis as a novelty sideshow during the halftime of Harlem Globetrotters games.

ANCHORS AND OBSTACLES

Back in Brooklyn, Marty feels suffocated by the life he is trying to escape. His uncle threatens police intervention over the stolen money to coerce him back into the family shoe business. He avoids his overbearing mother (Fran Drescher) like the plague, viewing her as an anchor dragging down his ambitions. To complicate matters further, he has impregnated a married neighbor, Rachel Mizler (Odessa A’zion), whose love for him serves as yet another barrier between Marty and his dream of freedom. 

Marty Supreme | A24

This domestic claustrophobia stands in sharp contrast to the opulent world of Milton Rockwell and his movie-star wife, Kay Stone (Gwyneth Paltrow). They possess everything Marty craves — wealth, status, freedom — yet they despise one another and barely register his existence as he desperately shoehorns himself into their lives. Even starting a chaotic tryst with Kay. 

THE FINAL GAMBLE

The film’s tension explodes in the final act when Marty strikes a devil’s bargain with Rockwell, agreeing to travel to Japan for a table tennis exhibition where he must throw the game against the Japanese champion, Koto Endo (Koto Kawaguchi). The stakes of this match are massive for everyone involved. For Japan, Endo represents a beacon of hope for a defeated population living in the shadow of the war. For Rockwell, the match is a Trojan horse designed to open a new frontier for selling American ink. And for Marty, it is simply his ticket to the big leagues.

But in true Safdie fashion, Marty’s ego refuses to be contained. In the final moments, he reveals to the crowd that the fix is in and goads Endo into playing a game “for real,” only to defeat him. In doing so, Marty crushes the hope of a recovering nation and torpedoes Rockwell’s business deal, proving that his need to win in the moment outweighs any future consequence.

⍟ MARTY SUPREME PRODUCTION DESIGN ⍟

The production design of Marty Supreme is a sprawling, meticulous recreation of 1950s New York, Japan, and Europe, led by the legendary three-time Oscar nominee Jack Fisk. Known for his long-standing collaborations with auteurs like Terrence Malick and Paul Thomas Anderson, Fisk’s partnership with Josh Safdie represents a collision of old-school period prestige and high-energy, contemporary filmmaking. In Safdie, Fisk found a collaborator who reminded him of the directors he started with 50 years ago, possessing a “whole being” dedicated to filmmaking that results in a shared “tunnel vision” on set.

THE FISK-SAFDIE PHILOSOPHY: “DOCUMENTARY” REALISM

Jack Fisk’s approach to Marty Supreme was defined by a commitment to absolute focus. He noted that finding directors who inspire him is the primary factor in choosing his projects, and Safdie’s passion mirrored the excitement Fisk felt at the beginning of his career in the 1970s. Fisk treats his sets not just as backdrops, but as a form of “Method building” or a lived-in documentary. He believes that if a set is closer to authenticity, it helps the actors understand their characters more deeply.

Paramount/Courtesy Everett Collection

This philosophy extends to creating details that might never be captured on camera. Fisk believes that even designs that don’t make it onscreen seep into the DNA of the movie and inform the performances, allowing actors to “get lost in the moment easier.” This collaborative spirit meant that the scope of the film was constantly expanding. If Fisk suggested ten ping-pong tables for a set, Safdie would push for twenty, always wanting things bigger than what had previously been done. 

RECONSTRUCTING LAWRENCE’S BROADWAY TABLE TENNIS CLUB

One of the film’s most central locations is Lawrence’s Broadway Table Tennis Club, a legendary spot that Fisk had to recreate level-by-level because the original building had been torn down. To achieve this, Fisk utilized city tax photos and original blueprints sourced by executive producer Sara Rossein. Fisk was particularly interested in the building’s history, noting it was an industrial space that had housed a car-parts business and an acting school on different floors. 

Marty Supreme | A24

Research revealed a fascinating layer of the club’s history: before it was a ping-pong parlor, the space housed an indoor miniature golf course. Fisk’s team recreated the hand-painted landscape murals — featuring trees, fog, and bushes — that were original to that golf course, even though they are barely visible in the final cut. The art department even discovered a 16mm film of people playing at the original club, which allowed Fisk to see the actual colors of the space and ensured the reconstruction was as authentic as possible.

THE LOWER EAST SIDE: MODULAR NEIGHBORHOODS

Recreating the Lower East Side of the 1950s presented a massive logistical challenge, as modern storefronts, glass, and graffiti have significantly altered the landscape. Fisk remarked that the neighborhood doesn’t look anything like it did seventy-five years ago because almost every storefront has been modernized. To solve this, Fisk and his team developed a modular system of tenement fronts that could be placed in front of contemporary buildings in record time.

On Orchard Street — a location chosen because it was historically the only place open on Sundays due to blue-law exceptions — the team hung period signs and awnings over modern buildings to hide contemporary glass. Set decorator Adam Willis then added layers of street vendors and tables to create a sense of density and “wrinkled” realism. The crew also studied Ken Jacobs’ 1950s short film Orchard Street as a primary piece of research for streetscapes and crowds, which Fisk described as the key piece of research that brought the whole crew together.

“AVOIDING WHITE LIKE THE PLAGUE”

Fisk’s color palette for Marty Supreme was strictly informed by 1950s period color charts and the technical requirements of shooting on celluloid. He famously avoids using white on his sets, noting that it seems more contemporary and can “burn a hole” in the film. Because white on a piece of celluloid effectively leaves the negative clear with no detail, Fisk finds it visually distracting and prefers “rich colors.” 

Marty Supreme | A24 | Matt Heister

In his research of old buildings, Fisk often peels away paint or moves light switches to discover the original colors underneath. Cinematographer Darius Khondji noted that this approach helped create a dingy, downbeat ambience. Everything was “dirtied-up” to look real and wrinkled, which Khondji felt complemented the texture of the film stock on the actors’ faces. 

PRACTICAL GRANDEUR: THE WOOLWORTH MANSION

To contrast Marty’s grimey Brooklyn roots, the production needed a location that represented overwhelming wealth. They eventually secured the Woolworth mansion on East 80th Street to serve as the home of Kay Stone and Milton Rockwell. Because the mansion was a $38 million historical property, the art department had to build independent structures to hold lighting rigs, allowing them to light the interior without ever touching the original walls or ceilings.

Marty Supreme | A24

Fisk and Willis used the top three floors of the mansion, which were exquisitely decorated. Fisk noted that the production could never have afforded to create that level of opulence from scratch, and it served as a vital over-the-top contrast to Marty’s working-class background. This visual divide was essential to the story of a character desperately trying to shoehorn himself into a higher social class.

GLOBAL SCALE: BOWLING ALLEYS TO TOKYO

The scope of the production design extended far beyond New York, requiring Fisk to pivot between vastly different environments on a tight schedule. For a scene shot in an upstate bowling alley, the team had to strip away fifty years of accumulated modern items to restore the 1954 vintage look, which included ensuring the original machinery still worked.

For the climactic match in Japan, Fisk collaborated with a Japanese art department for a month before traveling to Tokyo. They found a concert shell in a park that was “perfect” for the period and built bamboo towers covered in Japanese graphics. These designs were based on photographs from actual world tournaments held just a year or two after the film’s setting. Fisk was particularly impressed by the efficiency of the Japanese crew, noting that a period-accurate Japanese ping-pong table was produced almost immediately after he sent a reference photograph.

🏓 MARTY SUPREME CINEMATOGRAPHY 🏓

The cinematography of Marty Supreme represents a sophisticated fusion of 1950s period aesthetics and contemporary kinetic energy, reuniting cinematographer Darius Khondji, ASC, AFC, with director Josh Safdie following their collaboration on Uncut Gems. Khondji describes the visual approach as an “anthropological study” of a man living in 1952 New York City, capturing the protagonist’s obsessive drive through a lens of “brash beauty.” While the film is a period piece, Khondji and Safdie avoided a purely nostalgic look, instead marrying vintage photographic textures with a modern emotional pulse influenced by a soundtrack featuring 1980s music. This stylistic juxtaposition creates a timeless atmosphere that Khondji feels gives the film a unique “strength” and “modernity.” 

The core philosophy of the film’s imagery is rooted in the human face. Khondji emphasizes that “the story is told by faces,” and he approached the cinematography as if he were using a magnifier to search the characters’ eyes for their underlying souls. This required a departure from standard coverage. The team often utilized extremely long lenses to capture medium and tight shots, creating a sense of “magnified realism” that keeps the audience intimately entrenched in the characters’ headspace.

THE LENS LANGUAGE: MAGNIFICATION AND THE 360MM “JEWEL”

A defining technical aspect of Marty Supreme is the aggressive use of long anamorphic lenses, a preference of Safdie’s that Khondji fully endorsed. While typical anamorphic wide shots might utilize 40mm or 50mm lenses, this production frequently used 65mm, 75mm, and 100mm glass even for wider compositions. This choice minimizes depth of field and forces a subjective point of view, which Safdie believes mimics how the human eye focuses on specific interactions while blurring out the periphery.

Marty Supreme | A24

One of the most notable pieces of glass used on set was a vintage 360mm anamorphic CinemaScope lens that Khondji found in the cupboards at Panavision after researching the work of Italian cinematographer Gianni Di Venanzo. Safdie and Khondji treated this rare lens like a “jewel,” using it to achieve extreme compression in the image. In one instance, during a close-up of Gwyneth Paltrow in a stadium, the camera was positioned on the opposite side of the arena, creating an image that felt “almost like a dream” due to the intense spatial compression.

THE CHOICE OF 35MM FILM AND TEXTURAL REALISM

Although Khondji has mastered both digital and analog formats, Marty Supreme was primarily originated on 4-perf 35mm film using Arricam LT and ST cameras. Khondji notes that the film stock — specifically Kodak Vision3 500T 5219 — provides a “painterly look” and a physical texture that digital sensors cannot replicate. He describes the film negative as having a “crust” or “skin” like a painting, which becomes particularly evocative when capturing the pockmarks and acne added to Timothée Chalamet’s skin to enhance the film’s “realness.” 

Marty Supreme | A24

To further enhance this texture, Khondji often pushed the negative during processing. This technique increased the grain and provided a specific “analog feeling” that he found essential for the 1950s setting. While a small portion of the film was shot digitally for logistical reasons, Khondji worked closely with colorist Yvan Lucas at Company 3 to ensure a seamless match, though he maintains that the “incredible pleasure” of shooting film remains his preference for character-driven stories. 

LIGHTING PHILOSOPHY: “POOR-LIGHT” REALISM

The lighting in Marty Supreme was guided by a concept Khondji calls “poor-light” realism. This approach stems from the historical reality that 1952 New York was not as brightly lit as modern cities. Light was a necessity found in specific “pools” rather than a ubiquitous presence. Khondji aimed for a naturalistic warmth by turning lights off to create shadows and using single-direction sources that felt “murky” and “dirty” rather than traditionally “pretty.”

Marty Supreme | A24

For the table-tennis sequences, Khondji and gaffer Ian Kincaid tested various modern fixtures but ultimately settled on vintage “mushroom” lights. Khondji felt these provided the most beautiful top-down illumination for the actors’ faces, drawing inspiration from the boxing ring paintings of George Bellows. In the shoe store where Marty works, the team placed bulbs in soft little pools of light, using pushed film to capture the rich color separations and the “painterly look” of the hallway and boxes.

CAMERA MOVEMENT AND KINETIC GRACE

The film’s movement is described as a “wild ride” with nonstop energy, often following Chalamet as he runs through the streets of New York. To capture these frenetic sequences on location, the crew utilized a sophisticated camera car setup equipped with a small crane that was hand-operated by grips Richie Guinness Jr. and Joe Belschner. This allowed the camera to maintain a “kinetic grace” while navigating the tight angles of Orchard Street, which production designer Jack Fisk had modularly transformed to look like the 1950s. 

Despite the high-speed movement, Khondji remained conscientious about the “rhythm” of the camera. He believes that camera movement, lighting, and color are deeply connected to music, a sentiment echoed by Safdie’s use of sound to drive the film’s pacing. This rhythmic approach is best seen in the table-tennis matches, which were shot live with three cameras. Khondji avoided “gimmicky” or commercial-style angles, instead positioning the cameras at the height of the characters to capture the “dance” of the sport in a classical, dignified manner.

ANECDOTES FROM THE FIELD: FROM TOKYO TO THE ENDING

The production’s logistical challenges often led to unique creative solutions. When the team could not find a suitable location near New York for the climactic Japanese championship, they opted to fly a minimal crew to Tokyo to shoot outdoors in a park concert shell. Khondji found the Japanese crew to be exceptionally talented, noting that the change in environment created a different visual energy that felt more “intimate” due to the specific daylight and lenses used on location.

Marty Supreme | A24

One of the most emotionally charged moments for the crew was the filming of the movie’s ending. To capture the final scene in a hospital, the crew treated the shoot like a documentary, using a long lens to observe Marty from a distance. Khondji recalls that the crew attempted to “erase” themselves physically, staying silent and remote so as not to invade the actors’ space during the deeply moving moment. This quiet, observational technique resulted in a powerful final shot that Khondji says left many of the crew and friends of the production in tears during screenings.

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⍟ MARTY SUPREME COSTUME DESIGN ⍟

The costume design for Marty Supreme complements a character defined by relentless self-invention and the “fake it till you make it” spirit of the American dream. Led by costume designer Miyako Bellizzi in her third collaboration with director Josh Safdie, the wardrobe was tasked with a massive scale of world-building, involving over 5,000 costumes and 150 speaking roles. 

Bellizzi and Safdie approached the 1952 setting as a “lived-in” reality where clothes reflect the internal state of the characters. Bellizzi describes the wardrobe as a manifestation of Marty’s aspirations. She notes that the gray suit he carries in a dry-cleaning bag early in the film represents the man he wants to be, rather than who he currently is. 

THE SILHOUETTE OF AMBITION: DRESSING MARTY MAUSER

To capture the essence of Marty Mauser, Bellizzi looked toward the “wise guys” and hustlers of the Lower East Side for inspiration. She placed Chalamet in boxy, oversized suits that drew heavily from the 1940s Zoot suit silhouette to telegraph his status as an outsider who felt he was greater than his job at a shoe store. A key technical adjustment involved the addition of shoulder pads to Chalamet’s suits. This change was intended to prevent the actor from looking “collegiate” and fundamentally altered his physical presence and gait. This “gangster” swagger was purposefully juxtaposed with his eyeglasses, which Safdie felt reflected a sense of youthful vulnerability and an “upward-striving” element of his character.

Marty Supreme | A24

In pursuit of extreme authenticity, Bellizzi obsessively searched for specific vintage items, such as the exact shape of a 1950s tank top that Marty wears under his shirts. She notes that the shape of a vintage tee is distinct from modern versions, and finding the right one felt like “winning the lottery.” One of the most iconic additions to Marty’s wardrobe — a pair of red leather gloves — came about organically during a fitting when Chalamet simply threw them on while eating a hot dog. This spontaneous moment of creativity led to the custom fabrication of the gloves, which became a favorite detail of the design team.

Marty Supreme | A24

THE “BIBLE” OF THE LOWER EAST SIDE VS. UPPER EAST SIDE HAUTE COUTURE

The visual world of Marty Supreme is divided by a sharp class contrast between the Lower East Side and Upper East Side. As previously noted, the primary reference for the downtown world was a 1955 Ken Jacobs documentary shot on Orchard Street. The filmmakers treated this as their “Bible” for the film. In the Lower East Side, Bellizzi used silhouettes from the 1940s to suggest that people were wearing clothes they had owned for a decade, creating a sense of history and immigrant struggle. She even sourced women’s tights from a Hasidic Jewish Center in Williamsburg to ensure every layer was historically accurate.

This contrasts with the world inhabited by the former movie star, Kay Stone (Paltrow). For Kay’s wardrobe, Bellizzi looked toward the “New Look” of emerging fashion houses like Dior and Balenciaga. Kay’s character arc is told through a subtle color story: she begins the film in a “grayscale world” of black and white to reflect her emotional stagnation, but her palette eventually softens into pale blues, creams, and butter yellows as she meets Marty. Her red dress in Central Park marks a pivotal emotional awakening, signifying a moment when she feels truly alive again.

GLOBAL SCOPE AND PERSONAL HISTORY IN JAPAN

The production’s scope extended far beyond New York, requiring Bellizzi to design table-tennis uniforms for 16 national teams, including Brazil, India, and Germany. Each team required distinct polo silhouettes, warm-ups, and custom chest patches that Bellizzi either researched or invented from scratch. The film also required 10 custom-made warmup uniforms for the Harlem Globetrotters, as authentic vintage versions from the 1950s were impossible to source in necessary quantities.

Marty Supreme | A24 | Matt Heister

Marty Supreme | A24

The Japan sequences held deep personal significance for Bellizzi, who utilized her own family archives to research the postwar era. Her family had been in American internment camps during the war before relocating to New York, and she used photos of her great uncle in uniform to inform the looks of the “everyday people” in the Tokyo scenes. She aimed for an intimacy in the Japanese wardrobe that felt grounded in real family history rather than generic period tropes.

LIVED-IN REALISM AND CUSTOM CONSTRUCTION

A hallmark of the Safdie-Bellizzi collaboration is the lived-in quality of the costumes. Because Safdie believes that captured life should look like it wasn’t created for the camera, Bellizzi’s team would often weather the clothes they built to make them look authentic. This included distressing fabrics and aging garments so they appeared to have been worn for years. This philosophy extended to supporting characters like Marty’s mother (Drescher), and his girlfriend Rachel (A’zion). Rachel’s wardrobe included 1950s-accurate maternity wear, such as pencil skirts with cutouts for her belly, built specifically to handle the action-packed nature of the script.

Odessa A’zion as Rachel Mizler | jimagraphy via Instagram

Working with icons like Isaac Mizrahi and Sandra Bernhard also provided unique collaborative opportunities. Mizrahi, a designer himself, acted as a creative partner in his own fittings, discussing bias cuts and tailoring with Bellizzi. For the character of Wally, played by Tyler the Creator, Bellizzi had to actively “tone down” the artist’s natural flair for bright colors to ensure his character remained distinct from his public persona, opting instead for baggy shirts and braces that fit the period’s “outsider” vibe. 

Marty Supreme | A24

In the end, the true measure of success wasn’t just period accuracy, but iconography. Safdie hoped the looks would inspire Halloween costumes. To him, this would serve as the ultimate proof that the wardrobe had distilled the character’s ‘essence’ into an instantly recognizable visual shorthand.

🏓 WATCH MARTY SUPREME 🏓

Transcending the boundaries of the traditional sports drama, Marty Supreme is a psychological symphony of period-accurate details that mirror the obsession of its protagonist. 

For filmmakers, the film showcases how production design, cinematography, and costume design can coalesce to form a unified narrative voice. Whether it is the grain of the 35mm stock or the specific silhouette of a boxy 1950s suit, every choice on screen is an intentional reflection of Marty Mauser’s internal world.

Marty Supreme is currently in theaters and will be made available to watch on major streaming services and for digital purchase in the coming months. 

Don’t miss the opportunity to witness Safdie’s “cinema of anxiety” on the largest screen possible to fully appreciate the “brash beauty” of Khondji’s photography.

MASTER THE CRAFT WITH FILMMAKERS ACADEMY

The level of detail found in Marty Supreme is the result of decades of experience — knowledge that is meant to be shared. At Filmmakers Academy, we provide the resources to help you bridge the gap between creative inspiration and professional technical execution.

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The post The Look of Marty Supreme appeared first on Filmmakers Academy.

“I’m stuck between wanting to do something and not wanting to do anything at all.” 

What if the only thing more terrifying than a monster in the dark is the crushing, hollow weight of a life you’re supposed to want? This is the paralyzing, intimate territory of director Lynne Ramsay. More than any of her previous work, this film dives deep into the psychological trauma of its characters, where the horror starts in the interior and inevitably splashes out into the physical world. Adapted from the novel by Ariana Harwicz, Die My Love is a raw examination of depression, modern anxiety, and the desperate, carnal desire for anything beyond the profound isolation of marriage and motherhood. 

We are introduced to Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) in a rush of youthful, all-consuming sexual desire. This passion is the entire basis of their relationship. But when they move from New York to an abandoned house in the vast emptiness of Montana to have a baby, the reality of responsibility lands with a thud. 

(SPOILERS AHEAD!)

Beware: This is not a traditional narrative. It is a series of visceral, sensory experiences. We watch Grace descend, and we, like the other characters, are led to assume it’s postpartum depression. But Ramsay hints at deeper, older cracks. Is this madness the result of a childhood she can’t remember, orphaned by a plane crash at ten? Or is it the simpler, more horrifying realization that she and Jackson, outside of their physical connection, have nothing in common? 

Carnel Desires & The Bottomless Hole

As Grace struggles to find any purpose, she retreats into the only thing that ever felt real: her carnal desires. These manifest in haunting, surreal visions. A mysterious black horse appears, an animal they later crash into. A mysterious motorcyclist begins to visit her for nightly trysts — a figure who may be a real lover, or a complete phantom of her imagination. 

The horror is compounded by Jackson’s ineffectual attempts to help. He is clueless. Just like when he brings home a chaotic, untrained dog that Grace refuses even to acknowledge. He leaves their child alone in his crib to take her on a drive. Even after Grace is committed and returns from a mental hospital, he furnishes the house to feel more like a “home,” but it’s a hollow gesture. It’s a devastating realization that no amount of new furniture can fill an irreconcilable internal void.

What culminates from this profound isolation? When the loud music of youth finally stops, what happens when you are forced to be alone with your thoughts — and what if there are no real thoughts to contend with? What if the only thing to face is an enormous, bottomless hole, an abyss that can feel the entire world but can never, ever be satiated?

This is the great horror of life…

This is The Look of Die My Love.

DIE MY LOVE TECH SPECS

THE WORLD OF DIE MY LOVE

THE ISOLATING WONDER OF THE FRONTIER

Where the novel was set in rural France, Lynne Ramsay’s adaptation intentionally changes the location to the vast, empty countryside of Montana. This crucial move places the characters into the heart of an American frontier that feels both whimsically beautiful and profoundly isolating. The protagonists are immediately framed as outsiders, a youthful couple completely out of place in this rural wonderland and dangerously unprepared for their new circumstances as parents. 

Die My Love | Black Label Media

Ramsay establishes this voyeuristic and unsettling tone from the opening. The camera lingers in a static wide shot down a hallway, forcing us to observe the characters as they examine their new home. It feels like watching a play. By refusing to give us close-ups, Ramsay denies us access to their micro-expressions or any clear signs of uncertainty. Instead, they appear, at first glance, like any newly married couple (though we later learn they are not) choosing their first home. 

The house itself is a character, a tomb they’ve inherited. It belonged to Jackson’s deceased uncle, who committed suicide within its walls. It’s a chilling detail that immediately foreshadows the tragedy to come. Even after the young couple moves in, they do little to fix the place up. The house remains in a state of disrepair, a stark visual metaphor for their own unwillingness, or inability, to build a stable home or relationship.

A SICKNESS IN THE BLOODLINE

This exploration of madness is not limited to Grace. The film suggests a deeper, perhaps inherited, fragility in Jackson’s family. His elderly father, Harry (Nick Nolte), appears to be suffering from dementia. During what should be a happy housewarming party, he sits apart from everyone, confused and disconnected. His confusion soon turns to aggression as he causes a scene, yelling for everyone to leave his brother’s house.

Die My Love | Black Label Media

This culminates in one of the film’s first truly surreal moments. Later that night, the old man wanders outside, and the pregnant Grace follows him. There, in the cold Montana air, an unspoken understanding seems to pass between them. They end up dancing, a strange, silent, and deeply human moment of connection that acts as a prelude to his death in the very next scene. It’s a touching, haunting sequence that links Grace’s psychological state not just to her own desires, but to the generational sorrow of the very family she has married into.

Die My Love | Black Label Media

THE SOBRIETY OF DAY, THE DESIRE OF NIGHT

The film’s visual language is built on a stark divide. Throughout the story, the carnal, primal side of Grace unleashes itself almost exclusively under the veil of night. The use of film stock (a bold choice by Ramsay and DP Seamus McGarvey) supplants the texture of this veil, creating a velvet, grainy, and fantastical impression that perfectly supports the surreal tone. 

While her isolation and anxieties are exposed under the harsh, analytical light of day, the nighttime sets her free. She is alone, unbound, and able to pursue the black horse that appears to her, a phantom representing her wild, uncertain, and dangerous desires. These surrealistic nighttime sequences are set in the wilderness — on lonely roads or just outside the flimsy security of a home. It is only in the dark that she truly partakes in the acts she craves. 

THE SPELL OF NIGHT

Grace is not the only one haunted by the darkness. After Harry’s passing, her mother-in-law, Pam (Sissy Spacek), is caught under the spell of her own loss and mourning. She, too, becomes a nocturnal figure, sleepwalking down a lonely street and clutching a shotgun for a protection she can’t articulate. 

The shotgun becomes a terrifying plot point. When Grace checks on Pam during the day, a startled Pam nearly blows her head off, thinking she’s an intruder. This intense encounter, however, gives way to a moment of attempted connection. Pam asks Grace how she’s doing. In response, Grace completely shuts down, a reaction that becomes a painful, recurring part of the narrative. She is triggered anytime anyone brings up her role as a mother. 

Consequently, Grace’s own suppressed violence finally erupts. After the family gets into a car accident by striking the mysterious black horse, their new dog is badly injured. That night, as the dog whines ceaselessly, Grace’s sanity frays. She demands that Jackson put the dog down. He refuses, saying he’ll go to the vet in the morning. Unable to bear the sound any longer, Grace walks to Pam’s, retrieves the shotgun from her sleeping mother-in-law’s grip, walks back home, and shoots the dog. 

Die My Love | Black Label Media

THE BLUR BETWEEN FANTASY AND REALITY

Grace’s nightly desires blur the line between fantasy and a sordid reality. The mysterious motorcyclist who visits her for carnal trysts seems like another phantom. But later, Grace spots him with his family at a grocery store. When he sees her, a spark of a shared secret in his eyes confirms their connection is real.

His wife, sensing the intrusion, brushes Grace off. This only deepens Grace’s obsession. Later, she wanders to his family’s home, waits for him to come out, and they sneak into a nearby toolshed. This desperate, tangible act confirms her desires are not just in her head, cementing her choice to retreat from her domestic prison into a world of pure, carnal impulse.

ISOLATION VS THE PUBLIC

Ramsay forces Grace and Jackson into public settings only a few times, and these moments are intentionally jarring. In these bright, loud, “normal” places, Jackson tries to acquiesce to social norms, while Grace’s isolation becomes even more pronounced. She is utterly incapable of connecting with anyone. 

At a children’s party, surrounded by happy families, she is combative and detached. This culminates in a shocking scene where she makes a spectacle of herself, stripping down to her underwear and hopping into a pool full of kids.

This destructive public behavior climaxes at their own wedding reception. At first, the event is filled with fun, drinking, and laughter. But as Grace becomes increasingly drunk, her carnal side takes over. She is seen walking on all fours, like an animal, on the dance floor. 

When she is finally left alone in the honeymoon suite, she pops a bottle of champagne and convinces the man at the front desk to come up to her room. In a final act of self-destruction, she places her baby into a stroller and walks in a trance down the road. 

DIE MY LOVE PRODUCTION DESIGN

The production design of Die My Love, led by Tim Grimes, is central to the film’s suffocating, psychological horror. It joins a long tradition of “haunted house” movies where the horror isn’t from ghosts, but from the trauma and madness of its occupants. As Samantha Bergeson of ELLE Decor notes, the aging house is a direct “reflection of the frustrations” of the characters who live “alongside their own personal ghosts.”

FINDING A “PLAYGROUND” FOR MADNESS

While the Ariana Harwicz novel was set in rural France, Lynne Ramsay relocated the action to the “middle-of-nowhere Montana” (per ABC Arts), specifically shooting in Calgary. 

Production designer Tim Grimes “fell in love” with a dilapidated farmhouse during the location scout. Although it was in disrepair and had to be rebuilt from the ground up, Grimes knew it was the perfect “playground” for Ramsay to explore the story’s themes.

Die My Love | Black Label Media

Grimes’s goal was to “make it a little bit surreal and a little bit of a storybook quality” without being overt. 

“You don’t want the audience to notice what you’ve done either,” he told ELLE Decor, “You don’t want to be screaming out, ‘We decorated this house!’” 

This approach extended to the house’s narrative DNA. The home was inherited from Jackson’s uncle, who had committed suicide there, immediately layering the space with a history of death and grief before Grace and Jackson even arrive.

CONTRAST: THE NONCONFORMIST HOME VS. THE “BORING” WORLD

Grimes overtly emphasized the stark contrast between the fly-ridden, eclectically decorated farmhouse and the “absolutely boring” and “cookie-cutter” spec houses of the neighboring suburban world. This choice fueled the farmhouse’s design, making it as nonconformist and individualized as its inhabitants.

Die My Love | Black Label Media

This contrast makes the film’s ending all the more tragic. After Grace’s stay in a mental hospital, Jackson attempts to “fix” their lives by redecorating the house in the same generic, IKEA-esque mold they once stood against. As ELLE Decor points out, this “exorcism” of their past trauma doesn’t work, proving that the house is only as haunted as its occupants.

THE WALLPAPER OF CONFINEMENT

A key element of this “surreal” design is the now-viral bathroom wallpaper. In one of the film’s most intense clips, Grace claws away at the walls, a physical attempt “to shed the confinement of being a housewife and mother.” This fern palm-patterned wallpaper, sourced from Astek in Los Angeles, was a specific and contested choice. 

Die My Love | Black Label Media

“Everyone was like, ‘That’s not a country house wallpaper,’ and I was like, ‘I disagree,’” Grimes stated. 

His artistic instinct was validated in an art-mirroring-life moment when the team found a similar wallpaper “under layers of wallpaper in that house” during the rebuild.

Die My Love | Black Label Media

DIE MY LOVE CINEMATOGRAPHY

The visual language of Die My Love is a masterful and unsettling “pictorial depiction of a breakdown,” as cinematographer Seamus McGarvey, ASC, BSC describes it. Reuniting with director Lynne Ramsay after their collaboration on We Need to Talk About Kevin, McGarvey knew the camera would be central to the narrative. 

“When you embark on a film with Lynne… you know that the camera is going to be central,” he shares.

Courtesy of Seamus McGarvey

The goal was to craft a film that stepped away from simple realism and embraced the emotional, often skewed, perception of its protagonist, Grace. The result is a haunting, poetic, and technically daring visual experience.

THE RETURN TO 35MM EKTACHROME

To capture this “skewed perspective of the truth,” McGarvey and Ramsay made the bold choice to shoot on film. McGarvey’s initial suggestion was to use Kodak Ektachrome 100D, a color reversal film stock that Ramsay had previously used on Morvern Callar. 

“We didn’t want it to feel like a realist film,” McGarvey explains, and Ektachrome, with its “unique photographic signature,” was the perfect tool to embody Grace’s inner world.

colorpalette.cinema

This choice presented significant technical challenges. With a low exposure index of 100D, the day interiors were a constant battle.

“We needed to pump a lot of light into the sets,” McGarvey acknowledges. However, this limitation became a creative benefit, as the “decisiveness of the impact of strong sources gave it a particular look.”

Shooting on film also brought a sense of risk and commitment that Ramsay, a frugal director who knows exactly what she wants, thrives on. 

Photo by Seamus McGarvey

“There is a mystery to film,” McGarvey muses. “You don’t know that it’s definitely there. There’s something really special about that because you’ve taken a step into the dark, literally.”

THE SURREALITY OF DAY-FOR-NIGHT

The low sensitivity of Ektachrome reversal stock made it impossible to use for the film’s many night scenes. This led to another key stylistic decision: shooting all night exteriors as day-for-night.

colorpalette.cinema

McGarvey explains that this choice “gave a sense of surreality to the night work because it doesn’t look real… There’s an absolutely avowed sense of artifice.” 

For these scenes, the team switched to Kodak Vision3 negative film stocks (200T or 500T) to get a proper exposure in the shady forest environments. 

“We exposed it normally but printed down in the timing,” he says. The result was a lower-contrast, dream-like, and “twilight unreal” image that perfectly suited the film’s psychological state.

FRAMING CLAUSTROPHOBIA: THE ACADEMY ASPECT RATIO

One of the most defining visual choices was the film’s 1.33:1 Academy aspect ratio. Ramsay and McGarvey felt the location itself dictated this “boxy” format.

“When we saw the location, I wanted to see the whole door rather than cut it off,” Ramsay recalls. “It’s quite a portrait film anyhow, and so it felt like the location dictated the Academy frame.”

Die My Love | Black Label Media

This choice proved essential for the film’s themes.

“This film was about portraits, and it was about claustrophobia, and it was about people in a little boxy house,” McGarvey says. 

The 1.33:1 aspect ratio perfectly “fitted the house” and created a sense of confinement. It also allowed for powerful compositions, “putting people in the bottom or the edges of frame” to visually enhance their isolation.

LENSES FOR A FRACTURED MINDSTATE

To further enhance the skewed perspective, McGarvey turned to specific, character-driven lenses, supplied by Panavision in Calgary. The primary set was the PVintage primes — modern-mechanic updates of legacy Super Speeds and Ultra Speeds — which McGarvey describes as “really beautiful.”

Die My Love | Black Label Media

For Grace’s most intense psychological “moments in her head,” he employed two Petzval lenses (a 58mm and an 85mm). These specialty lenses are known for their unique, “swirly bokeh around the edges.” 

This optical distortion created a visible, signature effect that mirrored Grace’s mental unraveling, especially in scenes with dappled backgrounds like trees.

THE CAMERA AS A COMMUNING FORCE

The camera in Die My Love is rarely a passive observer.

“There’s a lot of silence in the film,” McGarvey notes, “and I think that cinematography is uniquely served to depict those kinds of ideas.”

Courtesy of Chris Chow

To achieve this, the team relied heavily on the “second to none” handheld and Steadicam work of operator Chris Chow. This mobility was essential for working with actors of the caliber of Jennifer Lawrence and Robert Pattinson. 

“You’ve got to give them some leeway because they always offer up surprises and beautiful moments of happenstance,” McGarvey says.

This nimble approach proved critical for Ramsay, who famously follows her instincts.

“If she’s not feeling the spirit of the shot, she’ll abandon it immediately,” McGarvey shares. “That is why her films kind of have this peculiar ring to them, because they’re unequivocally filtered through her director’s mind and heart.” 

This combination of instinctive direction and responsive camerawork created a final film that McGarvey describes as “defiantly a piece of poetic cinema.”

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DIE MY LOVE COSTUME DESIGN

The costume design of Die My Love, led by Catherine George, was an element that director Lynne Ramsay was “across every inch” of, working closely with her team to build the film’s specific visual world (ABC Arts). 

The approach was less about creating standout “costumes” and more about finding a precise visual palette that could track the characters’ emotional states. 

As Ramsay explained to ABC Arts, “We were looking at color palettes for different moods.”

colorpalette.cinema

Grace’s main costume in the film is a perfect encapsulation of this philosophy. At her wedding, she wears a “powder-blue dress… with its slightly 50s feel” (ABC Arts). This choice is highly symbolic. Ramsay notes that this look represents Grace “at the beginning,” when she is “bright and hopeful.”

This initial, distinct identity then deliberately erodes as the film’s suffocating world closes in. As Grace’s psychological state fractures and she becomes lost in the isolation of motherhood and her unraveling marriage, her wardrobe reflects this internal collapse. 

Ramsay notes that Grace eventually “starts dressing like everyone else,” a visual cue showing she has shed her bright, hopeful individuality and is conforming to a suffocating world.

This subtle but powerful transformation in her clothing is a key part of the film’s visual language, tracing her journey from a “punk rocker” who is “setting the world on fire” to a woman who feels “eradicated from her own space” (ABC Arts, The Film Stage).

WATCH DIE MY LOVE

Die My Love is a visceral, poetic, and uncompromising cinematic experience. It showcases a team of artists — Lynne Ramsay, Seamus McGarvey, Tim Grimes, and Catherine George, along with a fearless cast — working at the absolute peak of their craft. 

From its claustrophobic Academy-ratio framing and surreal day-for-night sequences to its psychologically-charged production design, this film demands that audiences see, feel, and study it.

Now that you’ve explored the incredible detail and artistry that went into every frame, it’s time to witness the final, haunting result.

Die My Love is currently playing in theaters and will soon arrive on major streaming services and for digital purchase.

Feeling inspired by the incredible level of artistry in Lynne Ramsay’s film? The techniques used to create such powerful, psychologically-driven masterpieces are at the very core of what we teach at Filmmakers Academy. 

If you’re ready to move beyond the technical and start mastering the skills of visual storytelling, cinematography, and directing, our All Access membership is your next step.

JOIN OUR ALL ACCESS MEMBERSHIP TO LEARN FROM INDUSTRY PROFESSIONALS!

WORKS CITED: 

Bergeson, Samantha. “Two New Movies, Die My Love and Sentimental Value, Redefine the Haunted House Genre.” Yahoo! Entertainment, 8 Nov. 2025, www.yahoo.com/entertainment/movies/articles/two-movies-die-love-sentimental-150000659.html.

Bradshaw, Peter. “Die My Love review – Jennifer Lawrence excels in intensely sensual study of a woman in meltdown.” The Guardian, 17 May 2025, www.theguardian.com/film/2025/may/17/die-my-love-review-jennifer-lawrence-excels-in-intensely-sensual-study-of-a-woman-in-meltdown.

Feldberg, Isaac. “‘You’re Living Intrusive Thoughts’: Jennifer Lawrence and Lynne Ramsay on “Die My Love”.” RogerEbert.com, 2025, www.rogerebert.com/interviews/die-my-love-jennifer-lawrence-lynne-ramsay-interview.

Hammond, Caleb. ““Let the Location Speak to You”: Lynne Ramsay on Die My Love, Shooting Academy Ratio, and Adapting Impossible Novels.” The Film Stage, 10 Nov. 2025, thefilmstage.com/let-the-location-speak-to-you-lynne-ramsay-on-die-my-love-shooting-academy-ratio-and-adapting-impossible-novels/.

Newland, Christina. “‘She’s a beast’: Jennifer Lawrence’s extreme new role is a radical portrayal of a woman on the edge.” BBC Culture, 4 Nov. 2025, www.bbc.com/culture/article/20251104-the-power-of-jennifer-lawrences-extreme-new-role.

Panavision. “Seamus McGarvey ASC BSC on the cinematography of Die My Love.” Panavision, www.panavision.com/highlights/highlights-detail/seamus-mcgarvey-asc-bsc-on-the-cinematography-of-die-my-love.

Russell, Stephen A. “Die My Love filmmaker Lynne Ramsay on realising a punk rock adaptation of Ariana Harwicz’s novel.” ABC Arts, 8 Nov. 2025, www.abc.net.au/news/2025-11-09/die-my-love-movie-jennifer-lawrence-martin-scorsese-lynne-ramsay/105948060.

The Making Of. “Seamus McGarvey ASC BSC on the cinematography of Die My Love.” The Making Of, themakingof.substack.com/p/die-my-love-cinematographer-seamus.

The post The Look of Die My Love appeared first on Filmmakers Academy.

“Some search for battle, others are born into it.” 

For years, adapting a Thomas Pynchon novel was considered a fool’s errand. That was until Paul Thomas Anderson masterfully captured the hazy, paranoid spirit of Inherent Vice. With his next splash into the Pynchonian universe, One Battle After Another not only proves his unique ability to translate the author’s complex prose but does so with a startling and urgent modern lens. The casting of Leonardo DiCaprio, following Joaquin Phoenix (as Doc Sportello), solidifies a fascinating trend of PTA pairing generational actors with Pynchon’s bewildered, soulful protagonists.

By streamlining Vineland‘s multifaceted plot, the film focuses on a more intimate, melancholic, and deeply resonant theme. The quiet apathy and lingering ghosts of a revolution gone wrong. This focus on the “aftermath” is classic PTA. The director excels at exploring the emotional spaces after the primary drama has unfolded. More specifically, where characters are left to grapple with the consequences. 

(SPOILERS AHEAD!)

What makes One Battle After Another arguably PTA’s most prescient work is its brilliant decision to ground the narrative in a modern context. The on-screen world, with its militarized police presence and public protests against anti-immigrant movements, feels ripped directly from today’s headlines. The film’s central conflict — the grassroots “French 75” movement versus the shadowy white supremacist cabal, the “Christmas Adventurers Club” — transforms Pynchon’s text into a powerful and uncomfortable mirror to our current political landscape.

This approach marks a significant return to the kind of explicit, politically charged filmmaking that defined the great American cinema of the 1970s. In an era where such directness is often avoided by major studios in a meaningful way, PTA is clearly making a bold statement. He’s championing the idea of activism and resistance in the face of creeping fascism. The film leverages Pynchon’s core truth: that reality is often far more absurd and terrifying than fiction.

CINEMA THAT IS MORE THAN FICTION…

A film like One Battle After Another doesn’t feel like a movie so much as a vital, anxious pulse beat for our current moment. PTA takes the soul from the source material, and like a used needle he dug up on Venice Beach, he mainlines its paranoia directly into the present, creating a world where the line between absurdist fiction and our own fractured reality has completely dissolved. In an age where decades of change feel crammed into a single year, this is cinema as a warning shot. It’s a declaration that the battle for a nation’s soul is far from over, and a powerful confirmation that… the revolution has only just begun.

This is The Look of One Battle After Another.

☭ ONE BATTLE AFTER ANOTHER TECH SPECS ☭

☭ THE WORLD OF

ONE BATTLE AFTER ANOTHER ☭

The Agents of Change vs. The Agents of the State

The world is a-changing, whether you like it or not. In the universe of One Battle After Another, the agents of this change begin with the youth. The film opens on the sexy and audacious Perfidia Beverly Hills (Teyana Taylor), a key member of the revolutionary group, “The French 75.” As she walks down a highway overpass at dusk, the camera leads her over a makeshift immigrant detention center. This facility is guarded by a score of U.S. soldiers led by Col. Steven J. Lockjaw (Sean Penn).

‘One Battle After Another’ Warner Bros.

Lockjaw is the very embodiment of American grit twisted into perversity. He is a lapdog to power, representing those individuals willing to do anything to be accepted by the ruling class. In other words, people like Lockjaw are unable to see anything outside the narrow confines of their own ambition. This opening image immediately establishes a clear paradigm. The stark opposition between those who strive to correct the injustices of the world, like Perfidia, and those who are willing participants in enacting that injustice, like Lockjaw.

The film then expands this paradigm even further. Beyond the immediate conflict on the street, we have the innocent victims — the immigrants being persecuted — and the ultimate victimizers, ‘The Christmas Adventurers.’ This fascist cabal, a shadowy collective of old-wealth elites, titans of industry, politicians, and select military officers, is the mastermind behind the anti-immigration rhetoric and policy sweeping over the nation.

A Revolution Born of Passion and Betrayal

Perfidia is dating a fellow French 75 member, Bob Ferguson (DiCaprio), a skilled bombmaker. It soon becomes clear, however, that his love for revolution does not exceed his love for Perfidia. On some level, his inspiration for radical action seems directly connected to his desire for her. 

‘One Battle After Another’ Warner Bros.

This dynamic is put to the test in the film’s explosive opening sequence, where the French 75 liberates the detention center under Lockjaw’s command. During the chaos, Perfidia uses her sex appeal as a weapon. She subdues Lockjaw in a move that unexpectedly awakens in him a kink for being dominated by her, sparking an immediate and intense infatuation.

‘One Battle After Another’ Warner Bros.

This daring liberation becomes a storied exploit. It grants the group notoriety and makes them heroes of the resistance. For Lockjaw, however, it becomes a personal mission to track Perfidia down. A mission driven by both duty and desire. He eventually corners her as she is planting a bomb in an office building. 

‘One Battle After Another’ Warner Bros.

He offers her an ultimatum: meet him that night at a motel, and he will keep her secret. She complies, satisfying his kink, and nine months later, gives birth to a daughter, Willa, whom Bob believes is his own.

‘One Battle After Another’ Warner Bros.

After this moment, a shift occurs…

Perfidia, perhaps driven by guilt or a renewed sense of purpose, becomes even more resolute in her revolutionary mission, but also more reckless. In contrast, Bob retreats into domestic life. He stays home with their baby, his revolutionary spirit seemingly quelled by the satisfaction of fatherhood. 

The balance is broken, and during a bank robbery, Perfidia kills a security guard. The entire group is forced to flee, leading to an intense getaway sequence. Perfidia is captured, and the surviving members of the French 75 are scattered into hiding or systematically killed. Bob is given a new identity and escapes with the baby.

‘One Battle After Another’ Warner Bros.

The Absurdity of Power and the Christmas Adventurers’ Club

One of the more absurdist, and thus Pynchon-esque, threads of the story is Lockjaw’s desperate pursuit of acceptance into the Christmas Adventurers’ Club. This racist, super-secret society is an old boys’ club that seems to be a cross between the Safari Club, Masonic Lodge, and Skull and Bones, all wrapped into one — holding a fascist grip on the levers of power. They occasionally allow certain military figures to join, but only if they meet the strict criteria: being white and having never been part of an interracial relationship, among them.

Lockjaw, haunted by his past with Perfidia, lies about his history to gain entry. To cover his tracks, he abuses his military power to search for Willa and eventually conduct a DNA test, confirming his deepest fear and hope: that she is, in fact, his daughter. This reckless pursuit is what places the aging, scattered members of the French 75 back in mortal danger and set the main action of the story in motion.

‘One Battle After Another’ Warner Bros.

In a chilling scene, the severity of the club’s ideology is laid bare. An assassin, appearing as a clean-cut, pasty Lacoste-wearing, country club-frequenting “good boy,” is guided through a labyrinth of secret hallways beneath a mansion. He enters a large masonic-like room with a small committee of wealthy men (as white as mayonnaise) who have discovered Lockjaw’s secret. They give the order to “clean up the situation,” meaning to kill not only Lockjaw for his transgression but also his potential child. This moment shows their unwavering and lethal ideology, revealing their power and stranglehold on society. This is exactly what the revolution is up against. 

☭ ONE BATTLE AFTER ANOTHER PRODUCTION DESIGN ☭

One Battle After Another achieves an epic scope that feels both fantastical and tangibly real. The story races from the redwood forests of Northern California to the sun-baked hills of the Anza-Borrego desert and the stark reality of the Tijuana border. Creating this sprawling, yet intimate, world was the monumental task of production designer Florencia Martin, who previously collaborated with Anderson on the meticulously recreated 1970s San Fernando Valley of Licorice Pizza.

For One Battle After Another, Martin had to craft a unique vision: a sort of present-day reality that exists in a world all its own. The goal was to go “beyond the matte paintings” and create an immersive space that the audience could step into. Drawing from insights with Martin, let’s delve into how the production design team built the unforgettable world of the film, piece by practical piece.

Behind the Scenes of One Battle After Another | Warner Bros.

A Tapestry of Unseen California

As previously mentioned, the film is loosely based on Thomas Pynchon’s novel Vineland, with the story’s origins in the redwood country of Humboldt County. This set the tone for the entire scouting process. 

“We’d go to all these inland neighborhoods like Sacramento, Stockton, Fresno,” Martin explains. “It really is like a tapestry of California to me — a California that we don’t really know.”

Sacramento (L) | Stockton (R)

The production filmed across at least nine California counties and in El Paso, Texas, deliberately avoiding typical coastal sights. The Sacramento rail yards, the undulating “river of hills” near the Texas Dip in Borrego Springs, and the Otay Mesa border crossing give the film a visual identity completely distinct from other California-set movies. This adherence to exclusively finding unique, authentic locations was foundational for the film’s grounded feel.

Anza Borrego (L) | El Paso Texas (R) 

Building the Worlds Within the World

Bob and Willa’s Redwood Hideout

To create the secluded home where Bob has raised his daughter, Willa, for 16 years, the team found a single-bedroom house engulfed by redwoods. The design philosophy was one of accumulation. 

“It’s that sense of someone who found a little sanctuary… and got really settled in,” says Martin. 

‘One Battle After Another’ Warner Bros.

The space was dressed with years of history, using artwork from Anderson’s own children and baby photos from Chase Infiniti herself to create an authentic sense of a lived-in family home. In a touch of Pynchon-esque whimsy, a nearby property filled with tiny, moss-covered cars became the location for the redwood outhouse, built right amongst them as if it were another of Bob’s eccentric hobbies.

Sensei’s ‘Underground Railroad’ Apartment

For the sprawling safe house run by Sensei Sergio St. Carlos (Benicio Del Toro), the production moved to El Paso, Texas. A location scout found the Genesis Perfumeria, a shop with an “incredible fluorescent green interior” and a staircase leading to an empty second floor. This discovery sparked the entire sequence. 

‘One Battle After Another’ Warner Bros.

“That’s how his story started to grow,” Martin notes. 

Her team then built Sensei’s apartment and the entire warren of interconnected living spaces for refugees practically on that empty second floor. 

“That is one of my favorite sets I’ve ever been a part of,” Martin says, explaining how they gave a unique story and design to each family’s space.

The Sisters of the Brave Beaver Compound

Inspired by the real-life “weed nuns” of California’s Sisters of the Valley, the film features a secluded convent. The challenge was finding a location that felt authentic and not overly restored. After visiting numerous missions, the team chose La Purisima Mission in Lompoc. 

Behind the Scenes of One Battle After Another | Warner Bros.

“La Purisima was the most stripped away, the closest to being a believable space that these women would have found… and taken it over,” Martin recalls. 

Paul Thomas Anderson Behind the Scenes of One Battle After Another | Warner Bros.

It provided the perfect backdrop for the perverse paternity test scene, set within the mission’s chapel.

The Border Detention Camp

To create the chilling detention camps, authenticity and respect were paramount. Martin consulted contemporary and historic photos and worked with a military advisor. The team found an incredible location that allowed them to build their temporary camp right next to the actual border wall at Otay Mesa. 

‘One Battle After Another’ Warner Bros.

The experience was profoundly impactful, as Martin notes, “We would have Border Patrol and immigrants crossing in as we were shooting.” The design was based on the stark reality of how these centers are run and laid out, avoiding a fictionalized interpretation.

Designing the Details: From Secret Societies to Sci-Fi Tech

Beyond the major locations, the design team crafted the film’s more fantastical elements with a grounded approach. The nefarious Christmas Adventurer’s Club found its headquarters in Sacramento’s historic Reagan Mansion, its fittingly formal architecture providing the perfect backdrop for the shadowy cabal. 

For the revolutionaries’ tech, like their unique scanner devices, the team looked at a mix of real-world communication methods. 

“It was just looking at 3G networks and ham radios and satellite… and also a little bit of fantasy too,” Martin explains, resulting in technology that feels functional and, as she puts it, “already old.”

The Power of the Practical

The immersive, tangible quality of One Battle After Another is a direct result of a core filmmaking philosophy championed by Anderson and Martin: prioritize real, built environments over digital ones. 

“CGI can distance the audience, but architecture really holds you,” Martin states. 

Behind the Scenes of One Battle After Another | Photography by Thomas Anderson

From the practical build of Sensei’s apartment to the real desert hills of the car chase, every location feels authentic and lived-in. This dedication to craftsmanship grounds the film’s epic story and complex characters, making its world not just a spectacle to be watched but a reality to be experienced.

☭ ONE BATTLE AFTER ANOTHER CINEMATOGRAPHY ☭

Paul Thomas Anderson’s films are defined by their unforgettable visual language, and One Battle After Another is no exception. Reuniting with his recent collaborator, cinematographer Michael Bauman, Anderson has crafted a film that feels both timeless and urgently contemporary. The movie’s look is a chaotic, sun-baked, and often surprisingly beautiful mosaic, shot on film and presented in a variety of large formats, including the resurrected VistaVision, 70mm, and IMAX. This vision for analog capture and ambitious presentation is a bold statement in the digital age, creating a tangible, textured world for this modern revolutionary tale.

Behind the Scenes of One Battle After Another | Warner Bros.

The cinematography masterfully walks a tightrope, balancing the kinetic energy of a genre film with the intimate, character-focused portraiture that is Anderson’s signature. Let’s break down the key cinematic choices that define the look of this epic.

Embracing the Analog: VistaVision and the Power of Film

In an era of digital precision, Anderson and Bauman made the deliberate choice to shoot One Battle After Another on celluloid, primarily using the rare VistaVision format. This high-resolution format, which runs 35mm film horizontally through the camera, captures a larger, more detailed negative, resulting in a stunningly sharp yet organic image. As Leonardo DiCaprio notes, the film feels “tactile,” a direct result of shooting in “real cars, real environments and situations.”

Behind the Scenes of One Battle After Another | Warner Bros.

The choice of film also creates a distinctive visual texture. The inherent grain structure of the film stock adds a layer of authenticity and nostalgia, separating the film’s aesthetic from the often sterile look of modern digital cinematography. The color reproduction on film, especially in the direct VistaVision prints, is described as breathtaking, with a range and depth that feels both vibrant and true to life. This analog approach grounds the film’s sometimes absurd or fantastical events in a believable, textured reality.

Behind the Scenes of One Battle After Another | Photo by Robert Pitts

Letting Darkness Be Dark: A Philosophy of Night Cinematography

One of the most striking aspects of the film’s cinematography is its approach to night scenes. In an era where many films are criticized for being overly dark or murky, Bauman’s work here is praised for its clarity and deliberate use of darkness. The philosophy is simple but effective: let darkness be dark. Rather than trying to artificially light every corner of the frame for visibility, the team embraced deep shadows and allowed light to be motivated by practical sources.

‘One Battle After Another’ Warner Bros.

This technique has a powerful effect. Night scenes look richer and more saturated, and the contrast between the pools of light and the surrounding darkness creates a sense of depth, mystery, and suspense. 

‘One Battle After Another’ Warner Bros.

As film critic Patrick Tomasso notes, “Our eyes can’t see everything at night in real life, so why should cameras?” This approach makes the darkness an active element in the composition, a space where threats can hide and characters can find temporary refuge.

Choices That Serve the Story: Embracing “Imperfection”

The cinematography in One Battle After Another isn’t afraid to be “imperfect.” It utilizes techniques that some might consider technically wrong, but that perfectly serve the film’s chaotic and disorienting story. Borderline overexposed daylight scenes convey the oppressive heat of the California desert, while unsettling, shaky handheld camera work plunges the audience directly into the frenetic energy of a chase or the paranoia of a character.

‘One Battle After Another’ Warner Bros.

As DiCaprio describes, the action sequences are “done in a Paul Thomas Anderson fashion that is very unexpected.” Anderson and Bauman eschew slick, CGI-heavy set pieces in favor of a more bare-bones, visceral approach.

Behind the Scenes of One Battle After Another | Warner Bros.

The camera is often right in the middle of the action, capturing real cars on real roads, with a “meta-jitteriness” that feels more authentic and thrilling than a perfectly smooth drone shot. These choices are deliberate decisions to prioritize the emotional and visceral experience over sterile technical perfection.

Behind the Scenes of One Battle After Another | Merrick Morton Photography

The Human Landscape: A Focus on Faces

For all its epic scale and visual pyrotechnics, One Battle After Another remains a deeply human story, and the cinematography reflects this. Anderson is a master at chronicling the human face, and this film is filled with stunning portraits that capture the complex inner lives of its characters.

Behind the Scenes of One Battle After Another | Warner Bros.

The use of large formats, such as VistaVision and IMAX 70mm, with their immense height and detail, draws the viewer incredibly close to the actors. Every nuance of a performance — a hint of doubt in Regina Hall’s eyes, a flash of fear on Chase Infiniti’s face, the weary lines on Leonardo DiCaprio’s — is captured with devastating clarity. 

Regina Hall in One Battle After Another

As critic Jim Hemphill observed, this format makes the film a “meditation on faces and the histories they illustrate.” Even amidst the chaos of a shootout or a car chase, the camera consistently finds its way back to the human element, reminding the audience of the emotional stakes at the heart of the story. 

The VistaVision Presentation

For the first time in over 60 years, Anderson has championed the projection of a new feature film from true VistaVision prints, reviving a dormant but legendary format. This provides a viewing experience for audiences that is as close as possible to the original camera negative.

Created by Paramount Pictures in 1954 as a response to the rise of television, VistaVision is a high-resolution widescreen format. Unlike standard 35mm film, which runs vertically through the camera, VistaVision orients the film horizontally. This creates a negative frame that is twice the size (8 perforations wide, hence “8-perf”), resulting in a finer-grained, higher-quality, and more detailed image. Alfred Hitchcock was a notable champion of the format, using it for classics like Vertigo and North by Northwest.

A 60-Year Hiatus and a Triumphant Return 

After its heyday in the 1950s, VistaVision’s use for principal photography waned, with Marlon Brando’s One-Eyed Jacks being the last major American film shot and released this way. For decades, the format was kept alive almost exclusively for special effects work on blockbusters like the original Star Wars and Jurassic Park, where its high resolution was ideal for compositing.

Behind the Scenes of One Battle After Another | Merrick Morton Photography

With One Battle After Another, Anderson has not only revived VistaVision for capture but has also worked with Warner Bros. to retrofit four select theaters worldwide — in Los Angeles, New York, Boston, and London — with the rare, specialized projectors required to screen true VistaVision prints. This is a significant undertaking, as these projectors must also run the film horizontally and are exceedingly rare. This allows audiences in those locations to see a print struck directly from the original cut negative, offering a viewing experience of unparalleled color and clarity.

The VistaVision Difference 

According to those who have seen the VistaVision presentation, there is a subtle but undeniable difference. The color reproduction is described as stunning, with a range and depth far greater than other formats. Cool colors appear colder, warm ones feel red-hot, and the subtle gradations across the spectrum are filled with rich detail. Anderson himself has noted that this presentation is the closest to the film’s intended look, offering a direct, unfiltered connection to the work of the cinematographer and the director. While other large formats like IMAX 70mm and standard 70mm offer their own immersive and beautiful experiences, the VistaVision print is unique in its direct photochemical lineage from the camera to the screen.

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☭ ONE BATTLE AFTER ANOTHER

COSTUME DESIGN ☭

While epic car chases and sprawling landscapes grab the eye, the film’s character-driven story is powerfully yet subtly reinforced by the masterful work of Oscar-winning costume designer Colleen Atwood. Tasked with dressing a diverse cast of revolutionaries, white supremacists, high schoolers, and a freedom-fighting Sensei, Atwood perfected the art of what she calls “unconscious-conscious dressing”—creating looks that feel deeply authentic to the characters’ lives and circumstances, rather than costumes that scream for attention.

Dressing the Revolutionaries: The Subtlety of Living Off-Grid

Atwood’s collaboration with Anderson was organic, beginning with a serendipitous run-in. Early fittings with Leonardo DiCaprio and Chase Infiniti took place at Anderson’s own home, where he would shoot camera tests on 35mm film, allowing the team to collaboratively refine the looks.

For the revolutionaries of the “French 75,” the key was to avoid romanticizing their image. 

“It’s always a possibility in that world to over-romanticize… to want everyone to look like him,” Atwood says, referencing the iconic image of Che Guevara. “They’re living off the grid, so they don’t want you to notice what they’re wearing.” 

This philosophy is embodied in the uniform-like dressing of Deandra, whose simple attire reflects what Atwood calls a “Madonna-esque purity,” suggesting a character who is more concerned with her cause than with her clothes.

Bob’s Robe: An Accidental Icon

For Bob, the revolutionary-turned-stoner-dad, the initial idea was a simple sweatshirt. However, a fluid process of collaboration led to a more memorable choice. 

“I don’t know if it’s Paul or Leo who said, ‘What if he’s just in his robe?'” Atwood recalls. 

‘One Battle After Another’ Warner Bros.

Inspired by Jeff Bridges’ “The Dude,” Bob spends a significant portion of the film in a faded, checked bathrobe. Atwood sourced a vintage rental robe as a template, then custom-made multiples from a vintage-looking cotton-wool blend fabric, which was then heavily aged. The result is an “old, cheap dad robe” that perfectly captures Bob’s state of inertia and cozy paranoia. 

Even his shoes, a pair of Altra Lone Peak trail runners, were a practical choice influenced by DiCaprio’s preference for a wide toe box, with their subtle orange soles occasionally peeking through the grime.

Willa’s Skirt: Sweetness and Action-Ready Strength

The primary costume for the teenage Willa was inspired by a student Anderson saw wearing a petticoat skirt at a real high school dance in Eureka. Atwood took this idea and adapted it for the screen. Initially considering a faded pink, she ultimately chose blue to feel more “low-key” and less vulnerable, reflecting Willa’s emotional state. 

‘One Battle After Another’ Warner Bros.

The skirt was crafted from airy silk gazar, cut with enough volume to catch air during action sequences and layered to allow light to pass through during dark exteriors. This sweet skirt was then contrasted with a tough, beaten-up leather jacket, described by Atwood as Grease-esque. 

“It felt right for her to have this beat-up jacket — that was her treasure,” she adds.

Dressing the Villains: From Awkward Aspirants to Real-Life Elites

For the white supremacist Christmas Adventurers’ Club, Atwood drew inspiration directly from real life. 

“I went to Orvis one day in Pasadena, and I saw one of the guys there who looked just like that,” she says, recalling a golf enthusiast who inspired one of the clandestine meeting costumes. “I went and bought exactly what the guy had.” 

This grounds the film’s antagonists in a recognizable, upper-class reality.

Col. Steve Lockjaw, an aspiring club member, is deliberately dressed to look out of place. His formalwear — a brand-new navy blazer, khaki pants, and tie — is what “his mother would’ve put him in for church on Easter Sunday.” The look is awkward and ill-fitting for the situations he’s in, reflecting his desperate, sad struggle for acceptance.

Sensei’s Style: A Collaborative and Authentic Look

Sensei Sergio St. Carlos was a particular highlight for Atwood, with a look that evolved through direct collaboration with the actor. The initial idea of keeping him in his gi was challenged by Del Toro himself, who questioned, “Why would I be hanging out in my gi doing my paperwork?”

‘One Battle After Another’ Warner Bros.

Instead, the final look became a fusion of influences. He keeps his gi pants, but pairs them with a custom-made indigo denim jacket (inspired by a design from Jimmy McBride) and unique cowboy boots Atwood found on a scouting trip to El Paso. 

This piecemeal, rooted-in-reality look, combining martial arts attire with Western and custom elements, perfectly reflects the character’s unique role as a protector and guide, and exemplifies what Atwood calls the “very fluid way” the film’s costumes came together.

☭ WATCH ONE BATTLE AFTER ANOTHER ☭

From the tangible, practical world built by Production Designer Florencia Martin to the stunning analog cinematography of Michael Bauman and the character-driven costumes of Colleen Atwood, One Battle After Another is a marvel of filmmaking at the highest level. It’s a film that demands to be seen, studied, and experienced. 

Now that you’ve explored the incredible detail and artistry that went into every frame, it’s time to witness the final, breathtaking result.

To get a taste of the film’s unique, action-packed, and visually stunning world, watch the official trailer below.

One Battle After Another is still in theaters, then it will be made available to watch on major streaming services and for digital purchase.

Feeling inspired by the incredible level of artistry in Paul Thomas Anderson’s film? The techniques used to create movie masterpieces like this are at the very core of what we teach at Filmmakers Academy. Are you ready to move beyond appreciation and start mastering skills like cinematography, lighting, and directing? Get the knowledge from professionals who have worked on films of this scale with our All Access membership. It’s your next step to becoming a well-rounded filmmaker.

JOIN OUR ALL ACCESS MEMBERSHIP TO LEARN FROM INDUSTRY PROFESSIONALS! 

The post The Look of One Battle After Another appeared first on Filmmakers Academy.

If you’re not leveraging it effectively, you could be leaving your next gig on the table.

In a recent presentation at the B&H Build event, Filmmakers Academy CEO Brendan Sweeney and social media expert Kyra Sweeney, co-founders of Lost Objects, broke down a practical, no-nonsense approach to mastering Instagram. This guide distills their expert advice into a step-by-step plan to help you turn your profile from a passive collection of photos into an active career-building tool.

Choosing Your Platform Wisely:

While there are several valuable platforms for filmmakers (TikTok for short-form, LinkedIn for professional networking, YouTube for long-form), Instagram remains the go-to for visual artists. It’s the perfect place to start because it’s built for showcasing your work, connecting with collaborators, and building a community. The key, as Kyra emphasizes, is quality over quantity. It’s better to master one platform than to spread yourself too thin across many.

Crafting Your Digital First Impression: The Perfect Profile

Your Instagram profile is your digital business card, portfolio, and handshake all in one. It needs to work as hard as you do. Here’s how to optimize it.

Your Handle & Name

Keep your handle (username) professional and searchable. Use your real name or a recognizable variation like @shanehurlbut. Avoid confusing or unprofessional nicknames. 

In the “Name” field of your bio, add your profession and location (e.g., “John Doe | Cinematographer | Los Angeles”). This makes you discoverable when people search for those keywords.

Your Profile Picture

Use a clear, professional image of your face. 

As Brendan notes, “People want to see your face. If you’re at a convention… you want to be able to stand out in the crowd and make those connections.” 

If you run a business account, a clean logo is appropriate. However, for an individual, your face is often your brand.

Your Bio

You only have 150 characters, so every word counts. State your role, your location, and include a link to your work. A touch of personality, like Kyra’s phonetic spelling of her name, can make your profile memorable.

The Creator Account Advantage:

This is a non-negotiable. Switch your profile to a Creator Account (or Business Account). Kyra calls this a “game-changer” for three reasons:

Extending Your Portfolio: Highlights, Pinned Posts & Your Link Hub

Highlights

Use Instagram Highlights as a permanent, curated portfolio. Organize your best content into categories like “BTS,” “Stills,” “Gear,” “Film Festivals,” or “Press.” Keep the number of highlights concise and ensure your cover images match your branding for a polished, professional look.

Pinned Posts

Instagram allows you to pin three posts to the top of your grid. Use this feature strategically:

Link Hub

Instagram only allows one clickable link in your bio, so make it count. Instead of constantly changing it, use a free link hub service like Linktree or Beacons.ai. This creates a simple landing page where you can host your reel, website, portfolio, press links, and contact information all in one place.

The Content Pillars: What to Post as a Filmmaker

The key to great content is authenticity. Focus on what feels true to you while aligning with your professional goals. These pillars consistently perform well for filmmakers.

Stills from Your Work

This is the foundation. Post high-quality images that showcase your creativity and technical expertise. A single, powerful still can speak volumes.

Behind-the-Scenes (BTS)

“People want to see what it took,” says Brendan. 

BTS content humanizes your process, shows your role in action, and connects your audience to the final product. It’s the modern equivalent of a DVD featurette.

Educational Content

This is a powerful way to establish yourself as an authority. Share lighting diagrams, break down your camera rigs, or create carousels explaining a color grading technique. This type of content has the highest save and share rates, which boosts your visibility in the algorithm.

Maximizing Your Reach: The Power of Engagement

Simply posting isn’t enough. You need to optimize your content to reach a wider audience.

Captions and Hashtags

Write captions that tell a story or provide value. Ask open-ended questions to encourage comments. 

Use a mix of general (#filmmaking, #cinematographer) and niche-specific (#griprigs, #lightingdesign) hashtags to help Instagram categorize your content and show it to new, relevant audiences.

Collaborations (The Game-Changer)

The single most powerful tool for growth on Instagram is the Collab feature. This allows you to co-author a post with up to five other accounts, sharing it directly with all of their followers. 

“This has single-handedly changed the game,” Kyra notes. 

She shares a story of how a single collaboration post with ShotDeck and other pages resulted in a million views and gained Filmmakers Academy 2,000 new followers. Always invite key crew members, rental houses, or brands featured in your post to collaborate.

A Real-World Blueprint: The Legacy Grip Case Study

To prove this strategy works, Brendan and Kyra shared their success with Legacy Grip, a client they grew from 400 to over 35,000 followers organically. They did it by:

The Bottom Line: Your Career is in Your Hands

Social media doesn’t have to be overwhelming. By optimizing your profile, creating authentic content that provides value, and strategically engaging with the community, you can transform your Instagram into a powerful tool for career growth. Start small, stay consistent, and focus on building genuine connections. In today’s industry, your digital presence is a vital part of your professional toolkit—it’s time to start using it.

The post A Filmmaker’s Guide to Instagram Growth appeared first on Filmmakers Academy.

Director Brady Corbet on the set of The Brutalist | Photo by Trevor Matthews

This article delves into the creation of that visual language. We’ll go beyond the surface, exploring not just how they achieved the film’s distinctive look, but why they made the choices they did. From the groundbreaking decision to shoot on VistaVision — a format rarely used in contemporary cinema — to the meticulous design of the film’s central architectural marvel, the Institute, we’ll uncover the layers of meaning embedded within the film’s visual fabric.

(SPOILERS AHEAD!)

The Brutalist tells the story of László Toth (Adrien Brody), a Hungarian-Jewish architect who survives the Holocaust and emigrates to America. He carries with him the physical and emotional scars of his past. A past that informs his unwavering dedication to his craft and his relentless pursuit of a singular, monumental vision. The film chronicles his struggles, his triumphs, and his complex relationship with a wealthy patron, Harrison Lee (Guy Pearce), as Toth strives to create a lasting architectural legacy. It’s a story about the creation of art, the clash of ideologies, and the enduring weight of history. It is also a story about America, and what the country represents.

But this isn’t just a story told with visuals. The Brutalist is a story shaped by them. The film’s use of VistaVision, its carefully considered color palette, its meticulous production design, and its bold framing choices all work in concert to create a cinematic experience that is both grand and intimate, both epic and deeply personal. We’ll explore how Lol Crawley, BSC’s cinematography captures the scale and texture of brutalist architecture, while also conveying the inner lives of the characters. Likewise, we’ll examine how Judy Becker’s production design creates a world that is both historically authentic and emotionally resonant. A world where buildings become characters and spaces speak volumes.

Prepare to enter the world of The Brutalist, a film that challenges us to consider the enduring power of architecture, the complexities of the American Dream, and the indelible mark of history on the human soul. This is a film that demands to be seen — and understood — on a grand scale.

This is The Look of The Brutalist.

❑ THE BRUTALIST TECH SPECS ❒

• Runtime: 3h 34m (214 minutes)
• Color: 
  • Color 

• Aspect Ratio: 
  • 1.66: 1 

• Camera: 
  • Arri Alexa (one shot)
  • Arricam LT, Cooke S4 Lenses
  • Arricam ST, Cooke S4 Lenses
  • Arriflex 235, Cooke S4 Lenses
  • Arriflex 416, Zeiss Super Speed Lenses (some scenes)
  • Arriflex 435, Cooke S4 Lenses
  • Beaumont VistaVision Camera, Leica R Lenses
  • Digital Betacam (epilogue)

• Negative Format: 
  • 16 mm (Kodak Vision3 250D 7207, Vision3 500T 7219)
  • 35 mm (also horizontal, 3-perf, 2-perf, Kodak Vision3 250D 5207, Vision3 500T 5219)
  • ARRIRAW (one shot)
  • Video (epilogue)

• Cinematographic Process: 
  • Digital Betacam (source format, epilogue)
  • Digital Intermediate (master format)
  • Super 16 (source format, some scenes)
  • Super 35 (source format, some scenes)
  • Techniscope (source format, some scenes)
  • VistaVision (source format)

• Printed Film Format: 
  • 35 mm 
  • 70 mm 
  • D-Cinema 
  • DCP Digital Cinema Package

❑ THE WORLD OF THE BRUTALIST ❒

The Brutalist is not confined to a single time or place. The epic spans continents and decades, tracing the journey of László Toth, a Hungarian-Jewish architect who escapes the ashes of post-war Europe to pursue the American Dream. This transatlantic narrative, encompassing both the devastation of the Holocaust and the burgeoning optimism of mid-century America, presented a unique world-building challenge for the filmmakers. The film needed to evoke multiple distinct settings, each with its own historical and emotional weight, while maintaining a cohesive visual language. While much of the principal photography took place in Hungary, the film’s story traverses a far wider geographical and emotional landscape.

“Brutalism, as an architectural style, is often seen as cold and impersonal. But I think there’s a beauty in its honesty, in its refusal to hide behind ornamentation. That’s something I wanted to explore in the film.” —Brady Corbet

‘The Brutalist’ A24

FROM POST-WAR EUROPE TO THE PROMISE OF AMERICA

The film’s early scenes are crucial for establishing Toth’s backstory and motivations. These scenes depict the trauma of the Holocaust and the challenges of rebuilding a life in its aftermath. Ultimately, he is searching for a new beginning. 

‘The Brutalist’ A24

The film then shifts to America, specifically evoking the atmosphere of Pittsburgh in the 1950s. This was a period of significant urban renewal and architectural innovation in America. It was a time of both optimism and underlying social tensions. Pittsburgh, with its industrial heritage and its own history of immigration, provides a fitting backdrop for Toth’s story. It’s a city built on steel and ambition, but also a city grappling with the complexities of progress and the displacement it can cause.

‘The Brutalist’ A24

BRUTALISM: MORE THAN JUST CONCRETE

The film’s title, and its central architectural focus, is Brutalism. This architectural style, which emerged in the mid-20th century, is characterized by its use of raw concrete (béton brut in French, from which the term “brutalism” derives), its massive forms, and its emphasis on functionality. Brutalism was often associated with social housing projects, government buildings, and universities — structures intended to embody a sense of civic purpose and democratic ideals.

‘The Brutalist’ A24

However, Brutalism has also been criticized for its perceived coldness, austerity, and even inhumanity. It’s a style that evokes strong reactions, and its use in the film is undoubtedly deliberate. For Toth, brutalist architecture may represent a rejection of the ornate, decorative styles of the past. A desire to create something new and enduring. Something that speaks to the raw realities of the human condition. It’s a style that reflects both his personal trauma and his unwavering belief in the power of architecture to shape society. 

‘The Brutalist’ A24

❑ PRODUCTION DESIGN ❒

Judy Becker’s production design for The Brutalist is not merely about creating aesthetically pleasing sets. It’s about building a world that embodies the film’s complex themes, reflects the protagonist’s turbulent inner life, and serves as a tangible manifestation of his artistic vision. Her work on the film is a masterpiece in using architecture and design to tell a story, creating spaces that are both historically resonant and deeply symbolic. This goes beyond simply finding locations. It’s about constructing meaning through the built environment.

MORE THAN DECORATION: PRODUCTION DESIGN AS CHARACTER DEVELOPMENT

From the outset, Becker understood that The Brutalist demanded a production design approach that went beyond surface decoration. The architecture, particularly the central structure of the Institute, needed to function as a character in its own right, reflecting the complexities and contradictions of László Toth, the Hungarian-Jewish architect at the heart of the film. This required a deep dive into the history of brutalist architecture, the cultural context of post-war America, and the psychological impact of trauma and displacement.

Corbet (center left) and Becker (center right) | Photo courtesy of A24

THE INSTITUTE: A MONUMENT TO TRAUMA AND TRANSCENDENCE

The Institute, Toth’s magnum opus, is the film’s most significant design challenge and its most powerful visual statement. Becker’s description of it as a “factory-slash-crematorium disguised as a church” is deliberately provocative, revealing the layers of meaning embedded within its design. 

“[The Institute is a] factory-slash-crematorium disguised as a church.” —Judy Becker

‘The Brutalist’ A24

This is not a building that offers easy comfort or simple beauty. It’s a structure that confronts the viewer, forcing them to grapple with the darkness of the past and the ambiguities of the present.

Next, let’s examine the several key influences of the Institute’s design.

BRUTALIST ARCHITECTURE 

The film’s title, of course, points to the dominant architectural style. Brutalism, with its emphasis on raw concrete, massive forms, and functional design. However, Becker’s Institute is not a generic brutalist structure. It pushes the style to its extremes, creating a building that is both imposing and unsettling. 

CONCENTRATION CAMP ARCHITECTURE 

Becker’s reference to concentration camps is crucial. The Institute’s starkness, its lack of ornamentation, and its imposing scale evoke the architecture of these sites of unimaginable horror. The disguised smokestacks, functioning as church towers, are a particularly chilling detail, adding a layer of dark irony and subversive commentary. 

‘The Brutalist’ A24

This connection to the Holocaust is not gratuitous. It’s directly linked to Toth’s personal history and his struggle to reconcile his past with his present. 

MARCEL BREUER 

Becker cites a specific real-world example as inspiration. A synagogue in her hometown designed by Marcel Breuer, a prominent modernist architect. This temple features a hidden Star of David shape, only visible from above. 

This concept of hidden meaning, of a building that reveals its true nature only from a particular perspective, resonates with the Institute’s design. It suggests that Toth’s architecture contains layers of symbolism and personal significance that are not immediately apparent. 

The Institute, therefore, is not just a building. It’s a physical manifestation of Toth’s trauma, his ambition, his artistic vision, and his complex relationship with his adopted country. It’s a monument to both memory and the desire to transcend the past.

BEYOND THE INSTITUTE: CREATING A COHESIVE WORLD

While the Institute is the film’s centerpiece, Becker’s work extends to every aspect of the film’s world. Thus, it creates a cohesive and believable environment that spans decades and continents.

EARLY DESIGNS 

The film depicts Toth’s earlier work, including furniture designs and a library. These designs, while still rooted in a modernist aesthetic, are less overtly brutalist than the Institute. These reflect Toth’s evolving style and his initial attempts to find his place within the American architectural landscape.

‘The Brutalist’ A24

THE CONSTRUCTION SITE

The evolving construction site of the Institute is a significant setting in the film. Becker’s team meticulously recreated the look and feel of a mid-century construction site, using period-appropriate materials, tools, and techniques. This attention to detail adds to the film’s authenticity and provides a dynamic backdrop for the unfolding drama. This also helped show the passage of time, along with the scale.

‘The Brutalist’ A24

HUNGARY AS AMERICA: THE ART OF TRANSFORMATION

The decision to film primarily in Hungary presented a significant challenge. How to convincingly recreate American settings, particularly those of 1950s Pittsburgh, on a different continent. This required a close collaboration between Becker’s production design team and Lol Crawley, BSC’s cinematography team.

‘The Brutalist’ A24

Becker’s team focused on sourcing period-appropriate props, furniture, and vehicles, transforming Hungarian locations into believable American homes, offices, and streetscapes. The opening interrogation room, a completely fabricated set, exemplifies the level of detail and control achieved by the production design team.

‘The Brutalist’ A24

The choice of locations was also crucial. Hungary, with its own rich architectural history and its mix of urban and rural landscapes, offered a surprising degree of versatility. However, careful framing, strategic set dressing, and the skillful use of lighting were essential to conceal any telltale signs of the European setting.

‘The Brutalist’ A24

Judy Becker’s work on The Brutalist is a powerful example of how production design can elevate a film from a simple narrative to a rich, multi-layered work of art. Her meticulous research, her attention to detail, and her deep understanding of the film’s themes and characters have resulted in a world that is both visually stunning and emotionally resonant. 

The buildings, the sets, the props — they are not just background elements. They are active participants in the story, shaping our understanding of the characters and their world. This is production design at its finest. A craft that transforms the mundane into the meaningful, the ordinary into the extraordinary.

❑ THE BRUTALIST CINEMATOGRAPHY ❒

Lol Crawley, BSC, is a cinematographer known for his bold visual choices and his ability to create atmosphere and emotion through light, composition, and camera movement. His work on The Brutalist is no exception. He crafts a visual language that is both grand and intimate, echoing the film’s thematic concerns of ambition, legacy, and the human cost of progress.

VISTAVISION: A DELIBERATE CHOICE, NOT A GIMMICK

The decision to shoot The Brutalist on VistaVision, a large-format film system rarely used in contemporary cinema, was not a stylistic flourish, but a fundamental choice driven by the specific needs of the story. Crawley emphasizes that the decision was “motivated by this desire to shoot on a larger film format” and that it “earned its place” rather than being an “affectation or anything like that, or a gimmick.”

Lol Crawley, BSC on location of The Brutalist | Photo by Bence Szemerey

According to Crawley, the rationale behind choosing VistaVision was twofold…

HISTORICAL CONTEXT

 Brady Corbet wanted to evoke the cinematic language of the 1950s, the era in which a significant portion of the film is set. VistaVision, popularized by directors like Alfred Hitchcock in films such as Vertigo and North by Northwest, provided a direct link to that cinematic heritage. It wasn’t simply about nostalgia. It was about tapping into a visual vocabulary associated with a specific time and place. 

‘The Brutalist’ A24

ARCHITECTURAL REPRESENTATION

The wider field of view offered by VistaVision was crucial for capturing the scale and grandeur of brutalist architecture without introducing the distortion that can occur with wider-angle lenses on smaller formats. 

“[We wanted to] celebrate the space.” —Lol Crawley, BSC

‘The Brutalist’ A24

As Crawley explains, the larger negative area allows for a “wider field of view” without needing “a wider angle lens to achieve that.” This results in a “truer” representation of the buildings, with “lines [that] are less distorted.” This was particularly important for showcasing the clean lines and geometric forms that characterize brutalist structures. 

LENSES: SHAPING PERSPECTIVE WITH LEICA R AND COOKE S4

Crawley’s lens choices for The Brutalist were specific and carefully considered, utilizing two distinct sets of prime lenses to complement the different film formats employed and shape the film’s visual narrative. This wasn’t about finding one “do-it-all” lens, but about selecting optics with specific characteristics for particular effects.

LEICA R LENSES (PAIRED WITH VISTAVISION)

For the sequences captured on the unique Beaumont VistaVision camera, Crawley employed Leica R lenses. Originally designed for Leica’s 35mm still photography cameras, these vintage full-frame lenses possess the necessary image circle to cover the large, horizontal VistaVision negative. Leica R glass is renowned for its distinct character. They have pleasing bokeh, beautiful flares (when pushed), excellent center sharpness, and a slightly warmer, less clinical feel than many modern cinema lenses.

Using these vintage optics on the VistaVision format contributed significantly to the film’s period aesthetic. They added a subtle layer of nostalgia and optical character that complements the historical setting and the grandeur of the large format.

‘The Brutalist’ A24

COOKE S4/I LENSES 

For the portions of the film shot on standard 35mm, Crawley utilized the industry-standard Cooke S4/i prime lenses. These modern cinema lenses are famous for delivering the classic “Cooke Look” – a unique combination of sharpness and smoothness. They possess a flattering rendering of skin tones, beautiful bokeh, and a gentle focus fall-off.

Plus, they provide a reliable, high-quality, and distinctly cinematic image often favored for narrative filmmaking. Using the Cooke S4s for the standard 35mm sequences provides a consistent, high-quality look.

Dual Lens Sets: Crafting Visual Texture

The deliberate choice to use two different sets of lenses, paired with distinct film formats (VistaVision and standard 35mm/Super 35mm), allowed Crawley and director Brady Corbet to create varied visual textures within the film.

The Leica R lenses on VistaVision provided a grander, perhaps slightly more romantic or vintage feel for certain sequences. Whereas, the Cooke S4/i lenses on standard 35mm offered a reliable, classically cinematic look for others. This approach adds another layer to the film’s sophisticated visual language.

Regardless of the specific lens set, the choice of focal length remained crucial for shaping perspective and emotion:

• Wider Lenses: Employed to capture the imposing scale of the brutalist architecture and vast landscapes. Potentially creating feelings of isolation or emphasizing the environment’s impact on the characters.
• Normal Lenses: Utilized to provide a more naturalistic perspective. Grounding scenes of dialogue and interaction in a relatable visual field.
• Longer Lenses: Used to compress perspective, isolate characters, intensify close-ups. This draws the audience into specific emotional moments, highlighting nuances in performance.

By carefully selecting both the lens type (Leica R vs. Cooke S4) and the focal length for each shot and sequence, Lol Crawley masterfully shaped the audience’s perception, enhancing the emotional resonance and thematic depth of The Brutalist.

CAMERA MOVEMENT: A DANCE BETWEEN FORMALISM AND FREEDOM

Crawley describes the camera movement in The Brutalist as a balance between “formalism” and “intimacy.” This duality reflects the film’s thematic concerns, contrasting the rigid, controlled world of architecture and ambition with the messy, unpredictable reality of human relationships.

Lol Crawley, BSC on set | Photo by Bence Szemerey

FORMALISM

In scenes featuring Harrison Lee, the wealthy patron, the camera often remains static or moves with a controlled, deliberate precision. This reflects the power dynamics at play and the formality of their interactions. Tripod shots, smooth dolly moves, and carefully composed frames would be characteristic of this approach.

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INTIMACY

In contrast, scenes involving more personal moments, or moments of emotional turmoil, often employ a handheld camera. This creates a sense of immediacy and vulnerability, drawing the audience closer to the characters’ experiences. 

Crawley mentions a particularly striking example. A scene where the Steadicam operator, Attila Pfeffer, transitions from a smooth Steadicam shot to a handheld mode within the same take. This daring technical feat reflects the film’s willingness to break with convention in order to serve the emotional needs of the story.

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This deliberate shifting between camera styles is not arbitrary. It’s a carefully orchestrated visual strategy that adds depth and complexity to the film’s narrative.

LIGHTING: SCULPTING WITH SHADOWS AND NUANCE

Crawley’s approach to lighting in The Brutalist is characterized by a strong emphasis on naturalism and a willingness to embrace shadows. 

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He describes his process as “lighting it to replicate what the best version of how we found it.” 

Meaning that he draws inspiration from the existing light in a location and then subtly augments it to create consistency and control.

Lol Crawley on set | Photo courtesy of International Film Festival Rotterdam

This doesn’t mean that the film is devoid of stylized lighting. In the furniture showroom scene, for example, Crawley uses Venetian blinds to create a “noir-ish quality.” They cast dramatic shadows and shape the light to enhance the mood. This demonstrates his ability to blend naturalistic and stylized approaches, creating a lighting design that is both believable and emotionally expressive. He also worked with Judy Becker on a fabricated light for the Library, something that is seen in other films.

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PRACTICAL LIGHTING

Crawley frequently uses practical lights — lights that are visible within the scene, such as lamps, windows, or overhead fixtures — as a key source of illumination. This adds to the film’s realism and creates a sense of depth and texture.

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NATURAL LIGHT

Whenever possible, Crawley utilizes natural light, shaping and modifying it with reflectors, diffusers, and flags to achieve the desired effect. This creates a soft, believable light that feels organic to the environment.

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SHADOWS

Shadows are not avoided; they are embraced as a crucial element of the visual composition. Crawley creates depth with shadows to sculpt the actors’ faces and to add a sense of mystery or drama.

Lol Crawley, BSC on location of The Brutalist | Photo by Bence Szemerey

A CINEMATOGRAPHIC VISION REALIZED 

The choice of VistaVision gives the film its own visual identity. Lol Crawley’s cinematography on The Brutalist is a vital component of the film’s success. His technical skill, his artistic sensibility, and his deep understanding of the story have resulted in a visual language that is both striking and emotionally resonant. From the grand sweep of the VistaVision format to the intimate details of the lighting and camera movement, every choice is deliberate, serving the narrative and enhancing the audience’s experience. This is cinematography that goes beyond mere visual spectacle; it’s cinematography that tells a story.

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❑ COSTUME DESIGN ❒

While architecture forms the imposing backbone of The Brutalist, costume designer Kate Forbes masterfully uses clothing to flesh out the characters, chart their emotional journeys, and subtly reinforce the film’s themes. Her work on the film is not simply about dressing actors; it’s about crafting a visual language that speaks to the passage of time, the weight of personal history, and the complexities of the American Dream. Forbes, with three decades of experience, brings a nuanced understanding of period detail and a punk-rock spirit of resourcefulness to this challenging project.

Costume Designer & Stylist Kate Forbes | Courtesy of Each is Every

AUTHENTICITY ON A BUDGET: SOURCING AND CREATING THE WARDROBE

The Brutalist spans several decades, from 1947 to 1960, demanding a wardrobe that accurately reflects the evolving fashions of the era. However, as Forbes reveals, the film operated on a “limited budget,” necessitating a creative and resourceful approach to sourcing costumes. This wasn’t about commissioning lavish, custom-made pieces for every scene. It was about meticulously curating a wardrobe that felt authentic and lived-in, while still serving the narrative needs of the film.

“The script itself drew me in 100%. I thought it was an amazing script, and I’ve always loved ‘The Fountainhead,’ the Ayn Rand book, and there seemed to be echoes of that in ‘The Brutalist.’” —Kate Forbes

Forbes and her team embarked on a transatlantic treasure hunt, collaborating with “seven costume houses in the end in the U.K. and [the rest of] Europe.” This involved scouring vintage stores, costume rental houses, and private collections for original pieces from the 1940s, 50s, and 60s. This approach not only ensured authenticity but also added a layer of texture and history to the costumes, imbuing them with a sense of lived experience.

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The sheer scale of the wardrobe was daunting. Forbes estimates that over 750 to 1,000 costumes were used for the extras alone, highlighting the meticulous attention to detail required to create a believable period world. This wasn’t just about dressing the leads. It was about populating entire scenes with characters who felt authentically rooted in their time and place.

CHARACTER THROUGH COSTUME: DEFINING PERSONALITIES AND RELATIONSHIPS

Beyond reflecting historical accuracy, the costumes would play a crucial role in defining the characters and their relationships.

LÁSZLÓ TOTH (ADRIEN BRODY)

Forbes emphasizes Toth’s “defiant independence,” a quality that sets him apart from the “sea of suits” represented by Harrison Lee and the American establishment. This suggests that Toth’s clothing, even as he achieves success, might retain a certain individuality, a subtle rejection of conformity. 

In a pivotal scene where Toth reunites with his wife, Erzsébet (Felicity Jones), Forbes made a conscious choice to dress him in a grey sports jacket and pale blue shirt, signifying “a moment of hope and serenity.” This departure from his usual attire underscores the emotional significance of the reunion.

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HARRISON LEE (GUY PEARCE)

Lee’s costumes, as a wealthy patron, were impeccably tailored and expensive, conveying his status and power. This creates a visual contrast with Toth’s more individualistic style. The choice of his ties was a selection between sapphire and deep red.

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ZSÓPHIA (RAFFEY CASSIDY)

Her introductory outfit is one that helps to display the tense situation she is in during her interrogation scene.

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BEYOND THE SURFACE: SYMBOLISM AND SUBTEXT

Forbes’s approach to costume design goes beyond mere period accuracy. She uses clothing to convey subtle nuances of character, emotion, and theme. The choice of a grey sports jacket and pale blue shirt for Toth in the reunion scene is a prime example of this. It’s not just a random outfit. Rather, it’s a deliberate choice that signifies a shift in his emotional state.

Similarly, Forbes mentions the “Lee Harrison ties,” carefully selected in shades of “sapphire and deep red.” These seemingly minor details contribute to the overall visual language of the film, hinting at the underlying power dynamics and the contrasting personalities of the characters.

UNPLANNED MAGIC: EMBRACING THE UNEXPECTED

Forbes also highlights the importance of being open to unexpected moments of serendipity. She describes a scene featuring Emma Laird in a red dress, set against red curtains. 

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This striking visual juxtaposition wasn’t meticulously planned; it was a happy accident, a moment of “unplanned magic” that arose from the confluence of costume and set design. Forbes’s willingness to embrace these unplanned moments, to recognize their beauty and incorporate them into the film’s visual tapestry, speaks to her experience and her intuitive understanding of using costumes to shape a story. She also explains how this helps capture “how life goes.”

Forbes describes herself as having a “punk spirit,” an attitude that informs her approach to filmmaking. This doesn’t mean she’s creating punk-inspired costumes for a period piece. Instead, it speaks to her resourceful, independent, and anti-establishment approach. She values individuality and authenticity, and she’s not afraid to break the rules or challenge conventions to achieve her vision. This punk spirit is evident in her willingness to source original vintage pieces, to collaborate closely with actors, and to embrace the unexpected moments that can elevate a film’s visual language.

❑ WATCH THE BRUTALIST ❒

The Brutalist stands as a filmic monument to the power of collaborative filmmaking, a symphony of vision orchestrated by director Brady Corbet and brought to life by the artistry of Lol Crawley, BSC, Judy Becker, Kate Forbe, and the entire creative team. It’s a film that demonstrates how every visual element — from the grand sweep of VistaVision cinematography to the subtle details of costume and production design — can contribute to a powerful and unforgettable cinematic experience. 

This isn’t just a film about architecture. This is a film that uses architecture, light, and design to explore the complexities of human ambition, the weight of history, and the enduring search for meaning. Thus, proving that independent films can be just as beautiful as blockbusters.

“The film is, in many ways, a meditation on the American Dream, its promises and its pitfalls. It’s about what it means to strive for greatness, and what we lose in the process.” —Brady Corbet

The Brutalist is available on your friendly neighborhood streaming service. 

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WORK CITED:

• Haigh, Chris (Host). “Finding the Frame Podcast: Featuring Lol Crawley, BSC and Judy Becker.” Filmmakers Academy Podcast, Season 2, Episode 5, February 25, 2025. https://www.filmmakersacademy.com/blog-deconstructing-the-brutalist/.  
• Jules, Jadah. “Q&A: Kate Forbes on the clothes behind ‘The Brutalist’.” Washington Square News, 4 Mar. 2025, https://nyunews.com/arts/2024/03/04/kate-forbes-the-brutalist/.
• “The Brutalist: the art of costume in a period production.” Peris Costumes, 6 Feb. 2025, https://www.periscostumes.com/the-brutalist-the-art-of-costume-in-a-period-production/.

The post The Look of The Brutalist appeared first on Filmmakers Academy.

Deconstructing The Brutalist: Cinematography & Production Design

In a captivating episode of Finding the Frame, host Chris Haigh dives deep into the visual world of Brady Corbet’s The Brutalist with two of the film’s key creative forces: cinematographer Lol Crawley, BSC, and production designer Judy Becker. Both Academy Award nominees, Crawley (known for Vox Lux, The Childhood of a Leader) and Becker (American Hustle, Carol) bring a wealth of experience and a shared passion for visual storytelling to this unique project. 

This article unpacks the key insights from their conversation, exploring collaboration, creative problem-solving, and the art of crafting a film’s visual language.

This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

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A SHARED VISION

The episode opens with a glimpse into the origins of Crawley and Becker’s filmmaking journeys. Crawley recounts his early fascination with the “dreamy, melancholic” images of music videos and the influence of cinematographers like Robbie Müller (Paris, Texas). This early exposure to evocative visuals, combined with hands-on experience in news and documentary filmmaking, shaped his responsive, yet highly stylized, approach. 

Becker, on the other hand, describes a lifelong love of art, interior design, and cinema. It’s a passion that ultimately coalesced into a career in production design. Her approach is deeply rooted in research and a desire to create authentic, yet expressive, worlds.

Both filmmakers emphasize the importance of trust and a shared vision when collaborating with a director. For Crawley, working with Brady Corbet is a given. He implicitly trusts Corbet’s artistic instincts. Becker, similarly drawn to Corbet’s directorial vision after seeing The Childhood of a Leader, highlights the collaborative spirit that defines their creative process.

Judy Becker speaks to the enjoyment of creating the visual world. It’s a highlight for her. She describes the lookbook and ideas presented before meeting the director.

It is a process that has gotten harder now with the evolution of virtual meetings. The conversation also delves into the importance of thorough production meetings, especially on a lower-budget, ambitious project.

DRAWN TO THE BRUTALIST: TRUST & VISION

For Lol Crawley, the decision to join The Brutalist was almost instantaneous. Having collaborated with director Brady Corbet on previous projects (Vox Lux, The Childhood of a Leader), Crawley had complete faith in Corbet’s artistic vision.

He describes Corbet’s films as “thought-provoking,” highlighting the kind of cinema that sparks conversation and lingers in the mind — precisely the kind of work that drew Crawley to filmmaking in the first place.

Judy Becker’s connection to the project was equally strong, albeit rooted in a slightly different experience. Having been deeply impressed by Corbet’s The Childhood of a Leader, Becker actively sought out opportunities to work with him.

She describes her initial reaction to the film as “awe-inspiring,” recognizing Corbet’s mastery of all aspects of filmmaking. This admiration led her to persistently pursue a collaboration, a testament to her director-driven approach to choosing projects.

DESIGNING THE VISUAL LANGUAGE: VISTAVISION & THE ARCHITECTURE OF EMOTION 

One of the most striking aspects of The Brutalist is its use of VistaVision, a large-format film system originally developed in the 1950s.

Crawley explains that this choice was driven by a desire to capture the scale and grandeur of brutalist architecture without the distortion that can occur with wider-angle lenses on smaller formats.

VistaVision, with its larger negative area and wider field of view, allowed them to “celebrate the space” while maintaining a strong connection to the characters.

The choice of VistaVision wasn’t merely a technical one. It was deeply intertwined with the film’s thematic concerns. Crawley emphasizes that the format allows for a unique balance between “celebrating the space and the performance.”

It avoids the overly close, “television” style of coverage, instead allowing the architecture and the characters to coexist within a larger frame, creating a sense of both intimacy and grandeur.

BRUTALISM AS A CHARACTER: MORE THAN JUST CONCRETE

For Judy Becker, the challenge of The Brutalist lay in bringing the architecture itself to life, making it a character in its own right. The central structure, the Institute, is not simply a backdrop. It’s a reflection of the protagonist, László Tóth’s (Adrien Brody) inner world. His past traumas and his aspirations.

Becker describes the Institute as a “factory-slash-crematorium disguised as a church,” a deliberately unsettling design that reflects Tóth’s subversive intentions and complex relationship with history. She draws inspiration from real-world structures, including a synagogue in New York with a hidden symbolic design only visible from above. This idea of hidden meaning, of a building that reveals its true nature only from a specific perspective, resonates throughout the film.

The stark, imposing nature of brutalist architecture is intentionally juxtaposed with moments of softer, more naturalistic design, reflecting the evolution of Tóth’s work and his personal struggles. The construction site itself becomes a character, with its evolving textures and forms mirroring the passage of time and the complexities of the building process.

CHALLENGES & TECHNIQUES: FILMING THE UNFILMABLE

Shooting brutalist architecture, with its vast, often unadorned spaces, presented unique challenges for Crawley. He describes a balancing act between formalism and intimacy, finding ways to capture the scale of the buildings while still maintaining a connection to the characters’ emotional journeys.

The film employs a mix of camera styles, from static, formally composed shots to more fluid, handheld movements. All in all, camera movements are dictated by the needs of each scene.

A particularly striking example is a complex, one-take sequence where the camera transitions from Steadicam to handheld and back again. All within a single shot. This audacious technique, executed flawlessly by operator Attila Pfeffer, reflects the filmmakers’ willingness to push boundaries and find creative solutions to technical challenges.

ADAPTING TO FILMING IN HUNGARY

The Brutalist, while set in America, was filmed in Hungary. This presented both opportunities and challenges. Crawley discusses the need to adapt lighting techniques to real locations. He strives to replicate the natural light that initially attracted them to a space. He also emphasizes the importance of observation and of creating a consistent, believable world. Keep in mind, that this is even when filming in a location that doesn’t perfectly match the story’s setting.

Becker’s production design played a crucial role in creating this believable American setting. From carefully chosen furniture and props to the strategic use of color and texture, she transformed Hungarian locations into a convincing representation of mid-century America.

EMOTIONAL & THEMATIC CORE: FINDING THE HUMAN STORY

Ultimately, The Brutalist is not just a film about architecture; it’s a film about people. Both Crawley and Becker emphasize the importance of finding the emotional core of the story. Especially, using their respective crafts to convey that to the audience.

Becker highlights the opening scene. It features a tense interrogation as a particularly effective example of how design can contribute to the emotional impact of a scene.

Crawley points to the Statue of Liberty sequence. A visually striking and thematically resonant moment that evolved throughout the production process. This is a testament to the power of collaboration and creative adaptation.

ADVICE FOR UPCOMING FILMMAKERS: FIND YOUR VOICE

Both Crawley and Becker offer invaluable advice for aspiring filmmakers. Becker stresses the importance of having a “source of inspiration.” A deep-seated passion for design that fuels the creative process. She encourages aspiring production designers to cultivate their own unique visual library. Draw inspiration from art, architecture, and the world.

Crawley echoes this sentiment. He urges cinematographers to “have something to say.” He emphasizes that technical proficiency is essential, but it’s not enough. A truly great cinematographer must have a personal vision. Moreover, a unique way of seeing the world, and translating that vision onto the screen. He encourages aspiring filmmakers to nurture your own “authorial voice” and to trust their instincts.

THE BOTTOM LINE: A MASTERCLASS IN COLLABORATION & VISION

The Finding the Frame conversation with Lol Crawley, BSC and Judy Becker offers a rare glimpse into the collaborative process behind a visually striking and emotionally resonant film. Their insights on visual storytelling, technical problem-solving, and the importance of a strong personal vision are invaluable. Particularly, for filmmakers at any stage of their careers. 

The Brutalist stands as a testament to the power of collaboration, the enduring appeal of classic filmmaking techniques, and the transformative potential of a bold artistic vision. This podcast is a masterclass for all filmmakers.

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This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

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Prep, Adapt, Collaborate: Judd Overton’s Filmmaking Philosophy

The latest Finding the Frame podcast episode is a goldmine. It offers insights for filmmakers of all levels. Host Chris Haigh speaks with cinematographer Judd Overton and their conversation is more than a career overview. It explores the key elements of great filmmaking: visual storytelling, adaptability, and collaboration.

Judd Overton’s journey is unique. It’s also as distinctive as his cinematic style. He grew up in the remote Australian Outback. Chance encounters with film crews sparked his interest, eventually becoming a hugely sought-after DP. He works on projects like NBC’s Young Rock and Peacock’s Killing It and Laid. He even did additional photography on James Gray’s Ad Astra. Overton’s path shows passion and perseverance and reveals a willingness to embrace new technology.

THE IMPORTANCE OF “PREP, PREP, PREP” (AND KNOWING WHEN TO LET GO)

Preparation is a recurring theme. Overton emphasizes meticulous planning. He reads scripts multiple times. First, he reads for the overall story. Then, he identifies key visual challenges and opportunities. This proactive approach is key. It allows him to develop a strong visual plan. He can anticipate potential problems and also collaborate effectively with the director from day one. 

As he says, “the cheapest part of filmmaking is your prep.”

However, Overton also stresses flexibility. He recounts a story from early in his career. He worked with Australian director Rolf de Heer. A carefully planned scene had to be reimagined which was due to unforeseen circumstances. This taught him a valuable lesson. 

“There’s always another way to tell a story.” 

The key is thorough preparation. This allows you to adapt confidently. Things will inevitably go awry. Meticulous preparation allows you to “stand on your toes,” in his words.

CRAFTING VISUAL METAPHORS: LAID AS A CASE STUDY

The discussion of Laid is fascinating. It is a case study in visual storytelling. This Peacock series subverts the romantic comedy genre and introduces a deadly twist. This presented a unique challenge. How do you balance rom-com tropes with darker elements?

Overton had a solution. He used framing, lighting, and lens choices. He framed the protagonist slightly off-center. This reflected her unbalanced life. He used lighting to create unease. This happened even in ordinary scenes. 

360-degree dolly setup on Laid | Photo courtesy of Judd Overton

Most strikingly, he used anamorphic lenses for moments of genuine romance. This created a visual contrast and heightened the emotional impact of those scenes. This was a deliberate manipulation of visual elements. Overton and director Nahnatchka Khan guided the audience’s response. They played with expectations and enhanced the show’s comedy and drama.

COLLABORATION: THE KEY TO CINEMATIC SUCCESS

Overton emphasizes collaboration in filmmaking. He describes his close relationship with Nahnatchka Khan and highlights their “creative shorthand.” They’ve developed this over multiple projects. This trust allows them to take bigger creative risks and support a shared vision.

He also stresses building strong relationships with the entire crew. Overton views filmmaking as a team effort. Every member contributes to the final product. This collaborative spirit extends to his advice. Aspiring cinematographers should seek out mentors and they should ask questions. One of the best ways to learn is through others’ experiences.

SHOOTING COMEDY, LIGHTING CHALLENGES, AND THE “CHAOS” OF BABIES 

The episode also delves into shooting comedy. Overall, the visual style must serve the performances. It shouldn’t overshadow them. Overton’s work on No Activity offers insights, produced by Adam McKay and Will Ferrell.

Listeners will also appreciate Overton’s candor. He discusses technical challenges. He recounts the logistics of shooting with six mothers and six babies on The Letdown. 

Lighting setup on The Letdown | Photo courtesy of Judd Overton

It required a massive 360-degree lighting rig. It also needed near-military planning. He describes shooting night scenes with limited hours in Vancouver for Laid. These stories highlight a cinematographer’s essential problem-solving skills.

EMBRACING THE FUTURE (WHILE HONORING THE PAST)

The conversation concludes by looking ahead. It covers the future of cinematography. Overton shares his thoughts on AI, automated tools, and virtual production. He embraces new technologies. However, he emphasizes the human element and how it remains paramount. 

“People are still going to want to see good stories told well,” he asserts. 

He believes the cinematographer’s role is to adapt. They must use evolving tools and they must also prioritize the story’s emotional core.

MORE THAN JUST A PODCAST – A FILMMAKING EDUCATION

This Finding the Frame episode is a valuable resource. It’s for anyone passionate about filmmaking. Judd Overton’s insights span continents and genres. He offers practical advice and creative inspiration, reminding us that the best filmmaking blends planning and problem-solving. It also requires a deep understanding of the human story.

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This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

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Beetlejuice, Beetlejuice, Beetle-Edited! (feat. Editor Jay Prychidny)

Get ready to scream with laughter (and maybe just a little bit of fright)! This spooky season, Finding the Frame kicks off with the strange, unusual, and utterly delightful. Join your hosts Chris Haigh and Steven Napolitano as they sit down with the incredibly talented Jay Prychidny, CCE, the editor behind Tim Burton’s wildly anticipated sequel, Beetlejuice, Beetlejuice.

This isn’t just about jump scares and striped suits. Jay takes us on a journey through his career, from his childhood fascination with film to his collaborations with visionary directors. He spills the secrets behind the editing magic of Beetlejuice, Beetlejuice, revealing how he captured the film’s unique blend of manic energy, heartfelt emotion, and visual spectacle. Plus, he shares a surprising revelation that will have you shouting, “It’s Showtime!” (or maybe just “It’s Bob!”).

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FROM VHS SPLICER TO HOLLYWOOD EDITOR: JAY’S JOURNEY TO THE CUTTING ROOM

Jay’s path to becoming a film editor began, as it does for many of us, with a childhood love of movies. But Jay wasn’t just watching films; he was dissecting them. He was fascinated by how stories were constructed, and how shots were pieced together to create an emotional impact. This led him to experiment with splicing VHS tapes, creating his own mini-trailers and mashups. It was clear from a young age that Jay had a knack for visual storytelling.

“From a very young age, I was just fascinated by movies,” Jay shares. “I loved watching films, and probably about when I was about eight or nine, I was just hooking up VCRs together and splicing movies… making my own pseudo trailers.”

This early experimentation evolved into writing scripts and directing his friends in homemade films. While he initially thought he’d pursue directing, he discovered a deeper passion for the art of editing during his university years. It was in the editing room where he truly felt at home, shaping narratives and crafting performances.

BEYOND BEETLEJUICE: EXPLORING JAY’S DIVERSE FILMOGRAPHY

Jay’s talent for crafting compelling stories through editing isn’t limited to the world of the afterlife. He’s also lent his skills to a range of projects, including the critically acclaimed Netflix series Wednesday.

Wednesday, courtesy of Netflix

In the Wednesday series, Jay masterfully captured the show’s dark humor and gothic atmosphere, perfectly complementing Jenna Ortega’s iconic portrayal of the titular character. He discusses the challenges of editing a performance that relies heavily on subtle nuances and facial expressions, highlighting the importance of emotional awareness as an editor.

“So much of editing is connected with human emotion,” Jay explains. “To be a successful editor, you really need to be kind of emotionally aware and emotionally open, and just allow yourself to feel what the footage, what emotions the footage is generating.”

Scream VI, courtesy of Paramount Pictures

Of course, we can’t forget his work on Scream VI, where he navigated the complexities of a beloved horror franchise, balancing fan expectations with fresh, innovative ideas. Jay’s ability to seamlessly blend genres and tones is a testament to his versatility as an editor.

COLLABORATING WITH A VISIONARY: INSIDE THE EDITING ROOM WITH TIM BURTON 

Working with a director like Tim Burton is a dream for many filmmakers, and Jay offers a fascinating glimpse into this collaborative process. He describes Burton’s hands-on approach to editing, visiting the cutting room multiple times a day during filming and providing constant feedback.

Behind the scenes of Beetlejuice Beetlejuice, courtesy of Warner Bros. Discovery

“He’s very involved in editorial, like every day of the shoot,” Jay reveals. “If he had time, he would come to editing like two or three times a day if he was able to.”

Jay also discusses the challenges of working with Burton’s limited coverage. This contrasts with the abundance of footage he received from the directors of Scream VI. This required a different approach to editing, relying more on careful shot selection and subtle adjustments to create the desired effect.

“BOB” THE BREAKOUT STAR: A HAPPY ACCIDENT

One of the most delightful surprises of Beetlejuice, Beetlejuice is the emergence of Bob, the lovable (and slightly dimwitted) shrunken head employee. What makes this even more delightful? Jay himself provides the voice of Bob!

This unexpected role came about when the sound designers were struggling to find the right voice for the shrunken head characters. Frustrated, they turned to Jay, who had a clear understanding of Tim Burton’s vision.

“The sound designer just got fed up and he was like, ‘You understand Tim, you know what he’s talking about. You just do it,'” Jay recalls. “So I just went in the booth and I just recorded all of Bob’s bits.”

And the rest, as they say, is history. Bob has become a fan favorite, proving that sometimes the best creative decisions happen spontaneously.

MORE THAN JUMP SCARES: THE NUANCES OF EDITING “BEETLEJUICE, BEETLEJUICE”  

Jay delves into the specific techniques he used to create the film’s distinctive style. He discusses the use of abrupt transitions. These are often accompanied by jarring sound effects or music cues, to reflect Beetlejuice’s chaotic energy. He also highlights the importance of subtle physicality in the “land of the living” scenes. To do so, they capture the characters’ grief and trauma through nuanced movements and gestures.

“A lot of the characters do have this kind of morose energy,” Jay observes. “I became very fascinated by that, just like the moments where the actors have these kind of subtle, kind of quiet, introspective moments.”

Jay also reveals the challenges of managing the film’s multiple narrative threads. Thus, ensuring that each storyline flows seamlessly into the next. He discusses the use of visual transitions and thematic connections to create a cohesive narrative experience.

And of course, no discussion of Beetlejuice, Beetlejuice would be complete without mentioning the unforgettable “MacArthur Park” wedding sequence. Jay breaks down the creative process behind this musical mashup, revealing how he and Tim Burton deconstructed and reassembled the song to create a truly unique cinematic experience.

This episode of Finding the Frame is a must-listen for any filmmaker interested in the art of editing, the collaborative process of filmmaking, and the magic of bringing a beloved character back to life (or should we say, afterlife?). A special shoutout to Jay Prychidny, CCE for sitting down with us. Tune in now and get ready to be inspired!

Filmmakers Academy Post-Production Courses:

• Terms and Techniques of Editing

• Essential Skills Every Assistant Editor Should Know

• Music Licensing and Selection with Musicbed

Book a Private Coaching Session with Joaquin Elizondo!

TUNE INTO PREMIUM FILMMAKERS ACADEMY PODCASTS

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SmallHD Monitor Settings for Razor-Sharp Focus Pulling

Tired of missed focus pulls and blurry shots? Frustrated by eye fatigue after long hours behind the monitor? Fear not! Renowned 1st AC Derek Edwards is here to share his insider tips for optimizing your SmallHD 1303 monitor and taking your focus pulling game to the next level.

In this video tutorial, Derek reveals his personal monitor setup and the techniques he’s honed over two decades of working on Hollywood blockbusters. Discover how to leverage focus assist, peaking, and a surprising black & white mode to achieve razor-sharp focus with minimal eye strain.

SMALLHD 1303 MONITOR SETUP

Now, let’s take a look at how Derek sets up his SmallHD 1303 monitor for optimal focus pulling. 

UNLEASHING THE POWER OF PEAKING

Derek swears by green peaking for its exceptional contrast against most scenes, making it easier to spot those critical areas of sharpness. He emphasizes the importance of adjusting the peaking sensitivity and threshold to match your individual preferences and the specific lighting conditions of each scene.

THE SECRET WEAPON: BLACK & WHITE MODE

Prepare to be surprised! Derek’s secret weapon for focus pulling is actually switching the monitor to black & white mode.This eliminates distracting colors and allows him to focus solely on contrast and sharpness, resulting in faster, more accurate focus pulls.

SHARPEN YOUR FOCUS, SHARPEN YOUR SKILLS

Whether you’re a seasoned focus puller or just starting out, Derek’s tips will help you level up your game. Experiment with his settings and techniques to discover what works best for your eyes and workflow.

Remember, these are just starting points. The beauty of the SmallHD 1303 lies in its flexibility. By customizing your monitor setup, you can unlock its full potential and achieve the kind of focus precision that sets professionals apart.

BECOME A CAMERA DEPARTMENT NINJA

Want to become an indispensable asset on any film set? Dive deeper into the world of camera department mastery with the all-new Camera Crew Playbook Masterclass. 

This comprehensive masterclass is led by Derek Edwards and renowned cinematographer Shane Hurlbut, ASC. Together they cover everything from focus pulling techniques to equipment troubleshooting and on-set collaboration.

Learn more about the Camera Crew Prep Masterclass!

ABOUT DEREK EDWARDS

Derek Edwards is the trusted 1st AC of renowned cinematographer Shane Hurlbut, ASC, with over 20 years of experience on major Hollywood productions. He’s a master of his craft, constantly pushing the boundaries of camera technology and methodology.

Book a Coaching Session with Derek Edwards today!

ABOUT SHANE HURLBUT, ASC

Shane Hurlbut, ASC, is a visionary cinematographer and innovator. He’s a pioneer in the digital filmmaking revolution and a passionate educator. That’s why he’s dedicated to sharing his knowledge with the next generation of filmmakers.

Don’t miss this opportunity to learn from the best in the business. Whether you’re a seasoned pro or just starting out, these tips will help you sharpen your focus and elevate your craft.

Book a Coaching Session with Shane Hurlbut, ASC today!

CAMERA CREW PLAYBOOK MASTERCLASS PRODUCTS

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BALANCING ACT: DAY INTERIORS IN THE DINER

One of the early challenges in Música was balancing the interior of a diner with the bright exterior sunlight. I needed to boost the light levels inside while maintaining a natural look. The Nanlux Dyno 1200s proved to be the perfect solution. 

By strategically placing them outside the diner windows and bouncing their light into 12×20 bleached muslin frames, I achieved a beautiful, soft light that seamlessly integrated with the daylight streaming through the windows.

What’s remarkable about the Dyno 1200s is their boost mode. This feature gives you a 30% increase in output compared to similar-sized lights, making them incredibly powerful for their compact size. 

This allowed me to maintain consistent lighting over two days of shooting, ensuring a cohesive look throughout the diner scenes.

NIGHT AMBIANCE: CAPTURING THE URBAN GLOW

Música also featured scenes with a lot of urban lighting. To capture the unique ambiance of city nights, I turned to my trusty “Depron Dome.” 

This simple yet effective tool involves layering foam to create a textured diffusion that gives the light a distinct quality.

For close-ups, I love using the Depron Dome in combination with Nanlux Dyno 1200s. By dialing down the light’s intensity and positioning it close to the subject, I can achieve a soft, enveloping light that beautifully wraps around the actors’ faces.

In one particular scene, I matched the Nanlux Dyno 1200s to the high-pressure sodium vapor lights commonly found in urban settings. The ability to precisely match any light source using the XY coordinates on the Nanlux lights is a game-changer. 

It allowed me to seamlessly integrate the actors into the existing lighting environment, creating a truly immersive experience.

SOFT LIGHT FOR EXPRESSIVE EYES

The eyes are the windows to the soul, and lighting them effectively is crucial for conveying emotions on screen. 

I often use LED tubes to create soft, flattering light for close-ups. However, I like to break up the light source to avoid a flat look.

Nanlite’s PavoTubes II are a favorite of mine because of their unique octagonal shape. This design allows me to easily adjust the angle of the light without the need for additional rigging. 

I often combine the PavoTubes with foam noodles to further diffuse and soften the light, creating a beautiful, cinematic look in the actors’ eyes.

SMALL FOOTPRINT, BIG IMPACT: THE PERFECT COUPLE IN LONDON

During the production of The Perfect Couple for Netflix, we faced a unique challenge. Due to restrictions at our London location, we could only use lights that plugged directly into the wall. This meant no generators or bulky lighting setups.

Thankfully, my gaffer, David Smith, had six Nanlux Evoke 2400Bs on hand. These powerful lights were the perfect solution. 

We were able to achieve the desired lighting effect by simply plugging them into the wall and bouncing their light through magic cloth. This not only saved us time and money but also allowed us to maintain a small footprint on location.

The Nanlux 2400Bs also proved invaluable for balancing the interior lighting with the bright exterior. 

By adjusting the green and magenta shift on the lights, we were able to perfectly color balance the scene, even with ND 1.2 on the windows.

THE FUTURE OF CINEMATIC LIGHTING

My experiences on Música and The Perfect Couple have solidified my belief that Nanlux lights are at the forefront of cinematic lighting technology. Their combination of power, versatility, and color accuracy is unmatched.

Whether I’m shooting a sun-drenched diner scene, a moody urban night, or a complex interior on location, Nanlux lights consistently deliver exceptional results. They have become an essential part of my filmmaking toolkit, and I’m excited to see how they continue to evolve and push the boundaries of what’s possible in cinematic lighting.

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Cinematography Essentials: How to Design an Epic Music Video Shot

Cinematographer Justin Jones breaks down setups from the August Royal music video ‘All I Need’, analyzing lighting, camera movement, and the rigs they used. From previz to execution, you can see how Justin pulled off this epic setup!

This is just a brief excerpt from the Cinematography Essentials series instructed by Justin Jones. Other setups in the lesson include an inferno, free-falling, and creating rain.

To access the complete lesson along with all the other lessons in the series, become an All Access member today!

You’re going to learn how to: Look at unique setups considering light and camera movement Shoot an epic and cinematic shot Plan a setup in pre-production

THE MOUND SETUP:

In the first section, August is on a mound of dirt with an amazing spotlight raining down on him revealing the writing on his body. It cuts to a VFX shot with angel wings. This is all constructed to tell a story of August drifting between Heaven and Hell. 

Justin starts his breakdown by identifying what Shane Hurlbut, ASC calls a keyframe shot (a shot that tells the story of a particular scene). Next to it is a previs shot that was created in Cinema 4D so the director could see Justin’s vision. 

LIGHTING SETUP

In the previs, you can see the dolly track and four Aputure Nova panels. But as things always change from the previs to the production, they only ended up using two of the Nova panels (one on the right side and the other on the left side) with the spotlight (an Aputure 600x). 

The 600x is a little bit of a warmer color than the Novas, so August’s face is warmer and his back has a cooler tone. 

Notice the 600x spotlight shining down on him. It has a spotlight mount that allows you to get that volumetric shape that’s pronounced by the haze. Plus, the 19-degree lens gives a sharp source of light. 

Also, note the cooler tones coming down and onto his side from the Novas mounted up top — again, one on each side of him. 

In the BTS image, you can see the Novas adorning softboxes and grids on both sides. The reason for the grids is to help control the light off the walls of the warehouse. 

CAMERA MOVEMENT

Justin and his team shot on the Alexa Mini LF. When it comes to camera movement, Justin deployed a dolly and dolly track. 

They used six 45-degree tracks that create a 12-foot inner diameter circle. As they put the dolly on the track, they balanced it out with wedges, which allowed them to get the smooth circular track around the mound of dirt where August stands. 

In addition to the dolly, they shot handheld for the close-ups of the words on August’s arms, chest, and face. 

Cinematography Essentials: Earth, Wind & Fire Breakdown

In this series, Justin breaks down the music videos that he shot throughout his professional career as a cinematographer. Showcasing behind-the-scenes photos and videos, Justin talks through things like camera and lens choices, lighting setups, locations, and more. 

You’re going to learn how to:

• Look at unique setups considering light and camera movement
• Make your subject appear surrounded by fire
• Make your subject appear as if they are on a moving stretcher in a hospital
• Make your subject appear like they’re free-falling
• Create fake rain with a rain machine

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When Jodi (Ava Michelle) hears her inner voice of self-doubt, Shane uses the Cinefade to subtly enhance the moment.

Watch the CINEFADE Effect in Action!

About CINEFADE

Cinefade is a camera accessory that allows cinematographers to gradually transition between a deep and a shallow depth of field in one shot at constant exposure to accentuate a moment of extreme drama in film or to make a client’s product stand out in commercials.

Learn more about how to light cinematically as a member of Filmmakers Academy!

Schedule 1-on-1 Video Call with Shane Hurlbut, ASC

Looking for mentorship in the film industry? Schedule a 1-on-1 meeting with Shane Hurlbut, ASC today! This is where you can get expert advice from an industry professional on your career or a particular project. 

About Filmmakers Academy Cinematographer Mentor Shane Hurlbut, ASC

Director of photography Shane Hurlbut, ASC works at the forefront of cinema. He’s a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. He is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.

Hurlbut frequently joins forces with great directors: McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor; and Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters. His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.

Filmmakers Academy Premium Lighting Courses

• On Set Power Distribution
• How To Soften Light
• Advanced Replicating Light Sources

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Keep reading to learn more about Nicole, her journey as a cinematographer, and process for the upcoming Netflix series. 

INSPIRED BY EUROPEAN CINEMATOGRAPHY  

Photography was the first love of Nicole Hirsch Whitaker. In fact, she thought it was her path in life. She dreamt of being a fine art photographer. Nicole was never really inspired by popular American cinema and wasn’t aware of avant-garde filmmakers. 

While in high school, that changed when she was introduced to European films. They were very unlike American films. What she saw in the European films aligned with her photographically and it dawned on her. Cinematography was a viable career path that allowed Nicole the artistic freedom to creatively explore. 

BEGINNING IN THE FIELD OF CINEMATOGRAPHY 

Growing up in Los Angeles, Nicole had the ability to work on sets through family connections. She attended NYU at just 17 years old. A few years later at the age of 20, she served in an internship program for a filmmaker who was both a director and cinematographer at a commercial company. 

Nicole was thrown into the fire where she did everything from editing to producing and shooting. It was in that “crash course” environment that she worked for two years before moving back to Los Angeles to start her work as a cinematographer. 

For about 15 years, Nicole shot commercials while dabbling a bit in narrative to further kindle her love in the medium. However, by this point in her career, she couldn’t even imagine not telling stories. 

INFLUENCED BY ART 

When Nicole first started photography, it was something that just came to her naturally. She immersed herself in the work of other photographers and lots of artwork. Her mother is an artist, she was raised in museums in Los Angeles, surrounded by art, and they traveled the world. Like osmosis, she absorbed what she saw into her own work. 

However, there is no single artist that Nicole tried to model herself after. Rather, she saw each work collectively as her inspiration. For instance, she would see a photograph by Man Ray and want to create interesting treatments, macros, and double exposures, and consider her creative decisions outside the box. 

CONNECT WITH LIKE-MINDED FILMMAKERS 

For Nicole Hirsch Whitaker, the creative process for cinematography was about connecting with like-minded filmmakers, like directors, who have a similar vision. That way, she wouldn’t have to try to fit in someone else’s bubble. 

Nicole notes that there are times when you will be excited about a big job, but ultimately, it might not be right for you. It’s important to make sure that when you’re starting a project, you’re on the same page as everybody. 

It’s tricky because sometimes you think you are and then you start the project and they’re like, “Wait a minute, I didn’t want that. I wanted this…” And then you either realize that you’re not the right person or find a way to work through it. 

TRANSITIONING TO NARRATIVE STORYTELLING

It was a long process for Nicole. While filming commercials, she shot a couple of movies and TV shows – but not much. The streaming wars changed that. More content than ever before was produced. She never really wanted to film TV before but then Nicole told her agents that she would like to give it a go. At first, they said it was going to be impossible since she didn’t have many TV credits. She advised them to just put her out there. She feels confident in a room and could convince someone to hire her. 

Fortunately, Nicole’s husband is also a director of photography and was working on a show where he was given an episode to direct. Her husband and the showrunner agreed to give her the opportunity and she ended up shooting two episodes while he prepped as well as the one he directed. 

After that, Nicole was able to land more TV gigs. It was all a matter of getting her foot in the door. Otherwise, it wouldn’t have been so easy. From there, the floodgates opened and she had tons of meetings. 

WHEN IS IT TIME TO SEEK OUT REPRESENTATION? 

Nicole sought out representation right away because she knew how important it was for her career. She had done lots of second unit work and put together a reel. She showed an agent with a small agency who agreed to represent her and she landed a commercial job within a month. 

After some time, Nicole went to a bigger agency and then to an even bigger agency after that. Agents are helpful because they help guide you in terms of jobs, especially when considering the scale of jobs, travel, and duration. It’s helpful to bounce ideas off the agent and help with negotiations. 

However, even with an agent, you still must do the work. It’s not as simple as, “I have an agent, now I will get lots of work.” In reality, it’s more of a collaboration. This involves dinners with people and keeping up with friendships. A solid social life with fellow filmmakers (especially cinematographers and directors) will help you go far. Nicole has greatly benefited from recommendations due to her relationships. 

Many cinematographers helped Nicole in her career. For example, even before Nicole began work on the live-action adaptation of the One Piece anime series, she reached out to cinematographers who worked with boats. This included Paul Cameron about Pirates of the Caribbean and one of her key grips who worked on Life of Pi. The advice she received was astronomical in helping her plan for her upcoming production. 

Until the crew starts, DPs are mostly working by themselves. While production designers and special effects have whole departments, the director of photography doesn’t have much support to rely on in pre-production. 

That said, on a show like One Piece, Nicole had her crew six weeks before production began. Even still, she felt limited in the amount of research and development it took to pull off. Before that, she worked for three months by herself and communicated with lighting and camera houses to come up with ways to shoot the project. 

LIVE-ACTION ONE PIECE SERIES

“We’re having so much fun,” says Nicole from the production office. Before that, the production was stalled due to the pandemic and then she was in her aforementioned months-long prep. Nicole is just in charge of the first block of production, which amounts to 62 days. 

Hawk developed lenses for One Piece in collaboration with Nicole from scratch, who describes that as “just beautiful.” Nicole also praises Netflix for its amazing support for the series adaptation. 

For the last three shows Nicole did prior to One Piece, she was the beginning director of photography. The challenge is creating something that’s new and different while also something that other directors of photography can follow. You don’t want to do something so difficult that they can’t achieve it with a shorter schedule. 

WHAT’S IT LIKE ADAPTING AN ANIMATED SERIES?

First off, Nicole watched the 1,000+ episodes of One Piece, which was not as hard as it seems since her son is a huge fan. In fact, she was already familiar with the source material having read the manga to her son. 

The adaptation also consisted of a back-and-forth collaboration with the director. They wanted it to stand out on its own and not just be a carbon copy of the anime. Together, they referenced different films along with photography and the look of the show. 

Just like DC and Marvel, One Piece has an enormous audience. Specifically, Marvel has done an excellent job of adapting characters to fit the culture of the day. 

“There will always be fans and critics. You can’t please everyone but at the heart of it, the most important thing is the story. And if the story isn’t there, and that doesn’t grab the viewers, it doesn’t matter what you do. We can only hope that we’re going to gain a new audience and people that find it fascinating and interesting.”

CAMERAS AND LENSES

Nicole is a die-hard fan of Alexa camera systems. Unless it’s dictated for some reason or she has taken over a show for someone else, she always shoots Alexa LF. Nicole has also enjoyed the Sony FX3 – especially after the masterclass she did with Shane Hurlbut, ASC. They have used it for specialty shots and Nicole recommends it for younger filmmakers since it’s smaller and less expensive than most. 

When it comes to lenses, Hawk and MasterBuilt are Nicole’s go-to companies. As mentioned, Nicole has been in collaboration with Hawk for her last few projects. More specifically, their LF anamorphics. Nicole has also turned to MasterBuilt Lenses’s 14.5 lens which looks like an 8-millimeter lens with no distortion.  

BUILD RELATIONSHIPS WITH RENTAL HOUSES

The minute Nicole knew what she needed, she called Peter Martin at Hawk in Germany. She told him the kind of lens that she was looking for but it didn’t exist yet. Peter asked how much time he had and Nicole told him five months. So, Peter told her that he could build the lenses that she needed. 

After some meetings, Netflix was onboard and then the production was onboard after that since they had to pay for five sets of lenses from scratch. If Nicole did not have that relationship with Hawk, it never would have happened. Otherwise, she couldn’t just call up a lens manufacturer and have them create the lenses. 

THE LANDSCAPE FOR FEMALE CINEMATOGRAPHERS

When Nicole began her career, she didn’t even think about the landscape of women in the industry. She just wanted to do what she did best. There wasn’t any distinction because there were so few female cinematographers at the time. At that time, she did a lot of commercials and was hired by female commercial directors and producers. 

It wasn’t until she was older that she realized that she probably would have worked more as a man. However, at the same time, she had kids and wanted the time to spend with them. 

“I kind of think that was like a perfect storm for me,” says Nicole. “A lot of the times when I go to work, I’m still the first female DP for a lot of people I’ve ever worked with. It’s not like it’s super common. I mean, I’m starting the show, and then there are three men following me. It is frustrating trying to get your foot in the door but, at the same time, I just can’t believe how many women there are now as compared to when I started. There was no one to talk to which is probably why I just never thought about it, you know?”

TIPS FOR FILMMAKERS

If Nicole Hirsch Whitaker had to do things differently, looking back, she would have started in narrative much sooner. However, at the time, with kids, commercials were easier to manage. Although, if she had not had kids when she was younger, she would have liked to shoot more stories – even if they were just shorts to learn the craft. 

Commercials are very “sexy” and you can make more money, recalls Nicole, and she even took a pay cut with narrative. You can get caught up doing one thing in this business and it becomes easy. “It’s what you do [versus] what you love, but just for me personally, I wish I had been down more of a narrative track from the beginning. Then again, it’s like, I’m still so happy with what I did. I got to travel and see everything.” 

Nicole encourages upcoming filmmakers to know themselves and what they want to do. For example, Nicole knows that she wouldn’t be a very good documentary DP. She knows that she is too particular and cannot deal with on-the-spot moments. 

Ultimately, Nicole’s advice for filmmakers is to try a little of everything. Because you’re going to learn something new from every medium. 

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