“The camera does what it has to do because Oscar Isaac gives us a lot as an actor”

With Moon Knight already finished, the Marvel Cinematic Universe (MCU) will continue on Disney+ only in June, when the next production in charge of presenting a new heroine is released: Ms Marvel. Meanwhile, we will have to settle for a rewatch of everything that has come out so far in the franchise, as well as go to the theaters to see Doctor Strange in the Multiverse of Madness.

oscar isaac was the protagonist of the recent miniseries of Disney+where he had to interpret several faces of the same character with dissociative personality disorders. Moon Knight started being Steve Grant to later reveal that the true identity was that of Marc Specter. But towards the end of the show, in the only post-credits scene that was seen, there was one more revelation: the third personality, that of Jack Lockley.

One of those responsible for working on this series of Marvel It was Andrew Droz Palermoa cinematographer with experience in more independent productions such as David Lowery, a ghost story Y Green Knight. In dialogue with spoilersthe director told how it was to be part of this fiction for which he worked in two episodes: the second and the fourth, where everything became more surreal and changed completely.

Moon Knight It is very different from the productions that you are used to doing. What called you to be part of the project?

What attracts me in general is the creator, with whom I am going to work. Aaron Moorehead and Justin Benson They were my directors, I loved them. We have mutual friends, so I was able to ask them a little bit, because at the end of the day, I spent 8, 9 months with them in a van every day shoulder to shoulder on set, so I wanted them to really inspire me, I wanted them to I will like them He wanted me to like how they treat people. The way people treat their team is very important to me, and they are so kind and good, considerate of everyone. That was the interest at the beginning. Then knowing that Oscar Isaac and Ethan Hawke were involved, actors of that caliber, and knowing that we were going to shoot that it was going to be a little more earthy than the rest of the projects of Marvelit felt like I was going to have room to make my mark and put something I liked into the project and not be one action sequence after another.

In this case, we have a character that disassociates and at first we have two personalities, then we know that there is a third. First I want to ask you if you already knew that when you started working, if you knew that there were going to be three characters played by Oscar Isaac, and how did you differentiate them in terms of photography for the series?

Yeah, I had all 6 scripts when I started so I knew the whole story. I knew they were going to be splashing some elements of Jake Lockley throughout (the series). But the difference, he would say, from the way I photographed it was really determined by the fact that Oscar long ago as an actor. His posture is different, his energy, the way he moves his feet. Everything. Steven he can be more like a jumper, he’s fast, he moves fast, but he’s also kind of stooped. Whereas when he plays Mark he has straighter shoulders, he uses his body more, he has a totally different defensive stance… You could say he’s more “traditionally masculine”. So the camera is like… As you follow the action, it’s like he immediately does what he needs to do, because as an actor he gives us a lot.

We’ve been postponing this interview because of the big reveal in the fourth episode and I want to ask you… It’s something that completely changes the series. As you say, we start with an earthly series that suddenly becomes surreal. What was it like preparing that and what can you say about shooting that? I think it’s 15 minutes at the end.

Yes. It’s actually shorter, which is amazing, because it’s a blast and it changes what you saw, while paving the way for future episodes. I was excited to know that that was going to be our episode, that it was going to be our challenge to start that, start it. Having that at the end of the episode is exciting, because you start with a world like tomb Raider and for the end it is a completely different end. For us it was thinking how far we could go without breaking everything. Because if you completely change the genre it falls apart. There are too many threads. So we figured out how to make it feel like our show, look like our show while we were in a whole new environment. Something that also makes our narrator totally questionable in terms of what we were seeing.

What other movies or video games influenced those Egyptian scenes, with pyramids?

Well, I went back to see all the things of steven spielberg and Indiana Jones, of course. It was hard not to. I’m thinking of this horror movie The Descent, with strange monsters. What I love about that movie is that it’s very black, very dark. That’s why it’s scary. You never know when one of these albino monsters or, in our instance this priest or old priest, might show up. Going into traditional horror movies was something I leaned into, because a lot of those Spielberg movies that go around the world have so much gloss and are more about setting. They can go to these amazing tombs, things like that. Ours has that, but for me success is in making you think about what’s in the shadows, so I tried to split the difference between those types of projects.

How did you work with terror? Because it’s for kids… Not for kids, but for the whole family, so you can’t go too far with that. How did you work it?

Our method was to overshoot. Shoot more… Both with the priest that we saw, knowing that maybe there were few shots of him at the end but maybe there were more focused frames or more focused, but also with the violence. We overshot with the violence knowing there was no way it was going to end in the episode. It’s too much for Disney+. It’s too much for us too, it didn’t seem entirely tasteful to us. But we wanted to have the possibility after deciding: “Yes, we can see this part where he sticks a scalpel into the officer Bobbybut we can’t… We’re not going to see him disemboweled”, for example. It was over-rolling and then finding… Especially since we also didn’t have too many guidelines around what was appropriate for Disney+. “What can we show? How much blood? Can we show blood?”. So, we shot it and they worked it out afterwards.

How was the dynamic between Oscar and Ethan? What was it like seeing them together in action?

It was great. It was also a bit intimidating, I wanted to make sure… Often when I work with a great actor I think of all the cinematographers they worked with. If you go down the list of the people these guys worked with, the cinematographers they must have seen, it’s unbelievable. and you wonder, “Am I a useful cinematographer for your work?”. Because, after all, I want that. Obviously, there are also considerations of my own that I have to prioritize to what they want, but often it’s, what can I do to help the actor, what can I do to allow them or give them the space to do their best. So that they give their best as actors. So yes, what a pleasure to see you.

What was it like shooting the action sequences?

The action sequences are interesting in the sense that a lot of them were worked out, some of them were worked out before I got involved with the project. There was already a preview of the sequences in which Moon Knight run across the roofs. From the point where we join with Aaron and Justinthere was a preview well done by Marvel and the visual effects supervisors, and our job was to look at them and say: “Yeah, we like this shot. This shot could be done with a longer lens. Or right now we could have a closer shot.”, and leave our mark, contribute our voice. Many of the action sequences in the series were shot with the second unit, so Paul Jennings it was the manager. He would take our opinions or what he would suggest with the lighting, maybe how the camera should move, but they would shoot on their own. I think they shot the rooftop sequence for six or seven nights on set. I saw the material and I thought I would have more things to tell you, but I was so comfortable with his work. Paul he worked as a stuntman so the stunts looked amazing, he has a great eye for action. So we were thrilled to have them on the team and have so much experience to put the action into the finished product.

+Disney+’s Moon Knight Special

As happens with every premiere that takes place within the MCU, Disney+ prepared a new documentary to learn more about behind the scenes. The ninth episode of Marvel United is focused on the series starring oscar isaac and is titled “Making Moon Knight”. From this Wednesday you can see it on the platform to learn more about this miniseries that confirmed the return of its protagonist, although it is not known if it will be in a new series or with its own film.

If you still subscribed to Disney+, you still have time to do it to be able to enjoy the exclusive contents of the platform. You can do it by entering here. What are you waiting for?

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