CAMERA
Lots of spoilers ahead!
This was the visual plan for the film:
For Danny & Luther’s world: Wide lenses, deep focus, mostly static camera. Framing and composition can be quite graphic. Not much cutting in these scenes. Their scenes should not feel dynamic. All of this will accentuate the fact that Danny & Luther feel stuck in their situation. They don't stand out; they're small figures in the middle of their gritty, stagnant world. When they move, the world (camera) generally doesn’t move with them. Their world has them in its control, more than the reverse.
In contrast, for Isabella’s world: Tighter lenses, shallower depth of field, more fluid camera. More dynamic and stylized, with more artful framing and use of shadow. Also, shorter shots / more cutting in these scenes. This will accentuate not only the more sensuous, romantic aspects of her world, but also the fact that she’s largely in control of it. She stands out from and dominates her surroundings.
Another tidbit: While staging and shooting, we developed a motif of characters being framed by two other characters in the foreground. There are 8 of these shots, pitting the framed figures in the less powerful or informed position. (I won't include them all here, but the sharp-eyed can catch them.)
Director of Photography: Stephan Dalyai
Camera operator: Jim Jost
1. Danny & Luther
These first 7 images show the types of shots we used for Danny & Luther. Generally wide, deep focus, graphic composition, and still. The men are trapped / lost within their world.
Danny & Luther 1
We did start this shot with an uncharacteristic move (down the fence, to find them behind it). But it felt like a good transition from the opening shots of Isabella, and we felt the color contrast was stronger that way, cutting from her rich reds to their deep blue sky.
Danny & Luther 2
Danny & Luther 3
Since this is the transition from their outer world to Isabella's inner world (and where they first hear her music echoing through the door, knowing they're nearing her), the camera moves briefly in the midst of the shot. It will then truck with them once they're inside with her (see below).
Danny & Luther 4
Danny & Luther 5
(One of the shots where two foreground characters frame others in a weaker position.)
Danny & Luther 6
The interesting wall and lighting provide the strong graphic framing for this shot.
Danny & Luther 7
This is the only time the camera tracks with Danny & Luther when not in Isabella's presence. Danny is strongly motivated by Isabella here, but we also felt it was more effective to do the whole scene in one shot rather than cut, or lose this graphic framing. It provides a greater contrast to the quick cutting and mayhem of the climax scene to follow.
2. Isabella
These next 8 images show the very different types of shots we used for Isabella. Generally tighter, shallow focus, more artfully framed, more fluid and more cutting.
Isabella 1
This first one is during the opening title: a series of tight shots moving around Isabella's silhouetted, mysterious form.
Isabella 2
Isabella 3
Danny's POV of Isabella. Tracks as he moves.
Isabella 4
More shots like this to come in the climax shootout scene.
Isabella 5
Isabella 6
She alone is shot from all sorts of angles, with the most complex, fluid camera moves.
Isabella 7
The camera moves with her as she spins across the stage, in a series of quick cuts.
Isabella 8
Camera gliding in and up toward her, in another quick, fluid shot.
3. Worlds coming together
These two moments represent how we thought through the worlds coming together, in terms of the camera…
Danny & Luther finding Isabella
Here we truck with Danny & Luther for the first time, as they get their first glimpse of Isabella. They're in her world now.
Danny & Isabella coming together
In the cooler scene with Danny & Isabella, we combined their two styles. In keeping with Danny's style, we start wide and hold it for half the scene, with almost no cuts. But in keeping with Isabella's style, the camera is never really still, moving gently and fluidly with them throughout the scene.
Once they begin dancing, there are more cuts and tight shots, and then as they draw nearer, the camera very gradually moves toward them, framing them tighter. Then the camera stops by the time Luther enters.