Lighting

That says, good luck, by the way. That's Russian graffiti there. And Eddie can expound a little bit on the challenges of editing this. Yeah, this was, the coverage, the raw footage was extraordinarily good. And it's beautifully lit. It was quite an easy sequence to build an assembly of because there was just so many great options and great angles.

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And you had to. And we used every tiny, every single angle was in this. And it was hours and hours of it. This shot, we had 15 minutes at the end of the day. Look at that beautiful backlight there, the sunset. You just nailed it. It's a beautiful one-er again. It was dictated entirely by necessity. I had no time. And Tarzan is so good. Everything he's doing is so active in these scenes. He's phenomenal. Greg Tarzan Davis, who plays the character of Degau behind Briggs.

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We were just always there giving ourselves the options. I love this shot of Isai. So good. The light in this scene, all of this stuff. Again, another set designed by Gary Freeman. Yeah. And lit by... What's interesting is, watching this, you're not aware of the fact that that establishing shot of Gabriel walking in, or Isai walking in past Grace, was shot over a year before we shot this scene. Yes.

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You can't photograph drizzle unless it's backlit and it's mostly gloomy. You can't tell that it's raining, but it was pretty much always raining while we were shooting this. And, you know, this location is very dramatic and very windy and a pretty brutal place. King Fjölnir has found himself a queen.

20:32 · jump to transcript →

Nicole, in the beginning of this scene, she's front-lit and looks very vulnerable as she's making this discovery about the fact that her son's alive, and we don't know what's going on with her, but we just have this kind of harsh, vulnerable light. And then as she steps forward towards him and crosses the fire, she becomes more and more underlit, like...

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backlit and becomes very, very beautiful lighting, which is, of course, on her, which is what we need for this part of the scene. I think, you know, we talked about this film as Viking Hamlet, but at one point it was said, you know, it's Viking Hamlet, but...

1:31:23 · jump to transcript →

when they're building toys and other things, because, you know, he's solid white with tracings of black around the eyes and mouth. And so, it's really hard to see the forms, unless you get in lighting like what we just saw there, because, you know, light bounces off of that white, and it actually takes away from the forms in an image. And so, when people are trying to recreate it,

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And of course, it adjusts depending on the scene and what he's looking for and the dynamics of the lighting and everything else. And so this was a combination of blood that we produced for the film from our studio, as well as K and B blood, which, you know, the combination of the two made for a lot of different variations of blood in this film. And you can notice from the first scene where the blood's much more red,

23:37 · jump to transcript →

So I'm imagining this sequence, this big demon, bigger than life, and I'm doing all, you know, in my head, I'm thinking all this stuff, and this statue that's gotta move, and then you give it to an old pro like John Caglione, who, you know, fucking knocks it out of the ballpark with, you know, some simple pieces, great paint job, and again, you know, hands down to Damien for lighting and shooting it in such a way that just makes it just really cool.

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Nia DaCosta

I really love the way Sean Bobbitt, the DP, does moonlight, and it really speaks to me as someone who loves mercury vapor lighting. I just think it's really beautiful. So, you have this mix of this, like, greeny light and this orange firelight, which I think is really beautiful. Here's the sound of the train over the moon.

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Nia DaCosta

This was so fun to shoot. This... Our amazing stunt performer, who we lit on fire, I think, three times. And the crazy thing about this, which I didn't know, is basically he gets covered... His body... Like, underneath the costume, he gets covered in something that protects him from fire. And then he gets... puts on the costume, puts on a gel that was supposed to light up. And then he wears a mask over his face so that he doesn't, you know, his face doesn't burn off, obviously, and... But he has to hold his breath for the entire time that he's on fire, which I didn't think about. But obviously, you wouldn't want to be inhaling and burning your lungs to shit. So I was so impressed. And I always am with everyone I work with, but especially him being lit on fire three times, I think, on that night, and then three times on this night, to do the shot that's about to come.

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And so beautifully executed. That's so well lit. To see the dark trails under his feet. So beautiful. This is the best shot of her shoes, I think, in the movie. I love those little stripes on the side.

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Edward Berger

was an incredibly physical challenge. But this shot with the helmet was one of the, when he strikes the French soldier with the helmet was one of the hardest shots to achieve. And we couldn't shoot it for the longest time because the sun was setting and it was setting in the wrong direction. It wasn't backlit. And so just, and we did three takes and then never were right. And then

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Tim Burton

Haris Zambarloukos and I talked about the lighting in the afterlife. I mean, we had a color scheme that we kind of identified. But then there was a thing about just not making it feel dead, just giving it a slight undulation. So it's got some weird life to it, even though it's sort of a hypnotic kind of hum that goes up and down. So it just didn't feel singular. So, you know, it's something we didn't want to make it annoying, but we wanted to give it a little bit of breathing.

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