With every show I have done with Ryan, there is a defining color, and it’s one of the first things we discussed during our initial prep. For instance, with Ratched, it was green. Hollywood was mustard and golden tones. Dahmer was a dingy, depressing yellow, and Monsters was blue.
The idea was that Zoe is kind of taking control of the film at this moment, and she also takes control of the cinematography. She can point that very hard light that follows her to the people she talks about. She’s also able to bring the camera with her. We had built this lighting system that remotely operated and was able to point at every time ever she would go, you had a lighting operator that was able to follow her in the space.
The question Jacques would ask every day, “What is the sound of my movie?” We didn’t have the answer, but we did a lot of things to be sure that in the end, he would have the answer. So coaches were there when you needed them. When you need a live musician, we’ll do playback now we’ll record it when we are shooting. Now we will do it in post. I was one to coordinate all these things.
“I always knew that it’s a 92-minute movie or whatever. It’s not a 10-hour limited series. There’s only so much narrative real estate to go around. I always knew that I wanted the victims to be explored with roughly the same depth as Rodney. In the movie, we don’t learn a whole lot about Rodney. You just see his behavior play out in front of you.”
“We didn’t have the budget or the time to be able to light everything in the gym. We just used available lighting. We were shooting at this place called The Pit in Albuquerque, which is huge and they broadcast games there. There was enough light but in that case, how do we make this one piece about getting into his head? Let’s turn almost everything off and just play with this idea of creating this world like the spot.”
“They described it as the sound of God’s fingernails on the chalkboard. It was one of the biggest things for me, like, okay, well, this is a great prompt before even going into a spotting session with the clients.”
“You want everyone’s work to shine. My job as an editor is to bring out the best in everybody.”
“There was a lot of preparation, especially when we got Olivia Colman and Claire Foy confirmed for the episode with Imelda Staunton. We always knew about the last scene, having three queens altogether would be iconic.”
“It’s easy to write about an eye in the sky staring down in a book or in a script, but when it comes time to design it, well, what kind of eye is that? What color is the eye? What is it?”
“Practical stunts, for us, is what we like to do. If we could bring somebody up to the Eiffel Tower, let’s do it. Let’s try it. Let’s explode those cars. It was awesome growing up watching Jackie do it all. ‘Film is forever.’ That’s what he would always yell, ‘Film is forever!'”
