I had a cement mixer. We threw things in and tumbled them, lots of ropes and chains and all that. We hired a real blacksmith to forge a lot of hooks and hinges. We used metal straps and even made a bunch of nails. We had our own little cottage industry going. We had anchors in there, dyers in there, construction people, blacksmiths, leather workers, taxidermists, all that.
The elements were brutal enough, but then you add the scalping, which informed the journey of the main character and was almost psychedelic. I want the cinematography to give you the sense of the surreal reality of that environment. I think Pete told me, “Never lose the environment.” So, from a DP standpoint, always connect the actors to what they are experiencing, the cast, and the character to where they are at the moment.
