{"id":10220,"date":"2020-07-09T08:44:17","date_gmt":"2020-07-09T15:44:17","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=10220"},"modified":"2021-05-29T20:15:46","modified_gmt":"2021-05-30T03:15:46","slug":"hollywood-shuffle","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/hollywood-shuffle\/","title":{"rendered":"Hollywood Shuffle"},"content":{"rendered":"

Local 600 Director of Photography Michelle Lawler, and her close-knit Guild camera team, help Lena Waithe create a new cinematic iconography in BET’s\u00a0Twenties<\/em>.<\/span><\/p>\n

by Margot Lester \/\u00a0<\/span>Photos by Ron Jaffe \/ Screengrabs Courtesy of BET<\/span><\/span><\/p>\n

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Lena Waithe is no stranger to breaking ground. The actor, writer and creator was the first Black woman to win an Emmy \u2013 for Outstanding Writing for a Comedy Series \u2013 for the \u201cThanksgiving\u201d episode of Master of None. <\/em>Her latest venture, Twenties<\/em>, is the first primetime vehicle to feature a masculine-of-center Black woman and the first BET show led by an LGBTQ+ character. As Justin Tipping, one of the show\u2019s executive producers and director of four Season 1 episodes, explains, \u201cTwenties <\/em>creates unprecedented\u00a0space on television for a generation of young queer Black women to see themselves on screen as protagonists with agency in their own narratives, while exploring universal themes within its specificity. The story does not fetishize Black pain and trauma \u2013 instead, it revolves around Hattie and her two straight Black girlfriends as they navigate love and friendship in the land of dreams.\u201d Tipping, who was a 2020 NAACP Image Award nominee for Outstanding Directing in a Comedy Series (Showtime\u2019s Black Monday<\/em>), had previously worked with Waithe on Showtime\u2019s The Chi<\/em>.<\/p>\n

And while Twenties<\/em>\u2019 plot may sound familiar, its execution challenges longstanding Hollywood convention. The show stars Jonica T. Gibbs as Hattie, who aspires to be a screenwriter; Christina Elmore as Marie, a studio executive; and Gabrielle Graham as Nia, a former child actor who\u2019s now a yoga instructor. \u201cBy showing Hattie and her two Black female friends exploring the messiness of finding themselves in their 20s as they all struggle to \u2018make it\u2019 in spaces in which they often feel they don\u2019t belong,\u201d Tipping adds, \u201cand allowing them to show the gamut of the human condition in all its forms, the show pushes the normalcy of these images and representation into the mainstream, so we can work to redefine the status quo of majority culture to be more inclusive.\u201d<\/p>\n

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Executive Producer\/Director Justin Tipping says Waithe’s vision in Twenties<\/em> creates an “unprecedented\u00a0space on television for a generation of young queer Black women to see themselves as protagonists with agency in their own narratives.” Above: Ida B. (Sophina Brown) with Hattie (Jonica T. Gibbs) from Ep. 8 \/ Photo by Ron Jaffe<\/figcaption><\/figure>\n

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Local 600 Director of Photography Michelle Lawler,<\/strong> who worked on Season 1 of Waithe\u2019s BET series Boomerang<\/em>, says that although the show is entirely location-based, they shot four-and-a-half days per episode. “You can easily get bogged-down with just getting coverage and making the day with that type of schedule,” she observes. “But Lena inspires you to elevate your game. She\u2019s always asking: \u2018How can we move the camera?\u2019 and \u2018How can we do this differently?\u2019 and\u00a0 \u2018How can we visually convey what\u2019s happening for this character emotionally?\u2019 For me, that\u2019s the fun part, pushing past the automatic default and going deeper. And there were a lot of opportunities on this show to do that.\u201d\u00a0Adds A-Camera\/Steadicam Operator Michael Wilson: \u201cLena\u2019s approach is a great way to flex your creativity, collaboration and communication. You\u2019re opened up to much more than typical TV blocking.\u201d<\/p>\n

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1st AC Jacqueline Stahl says \u201cthe Rota-Polas help to smooth out and brighten darker skin tones, which absorb more light. They add a special unique glow to the skin.\u201d Above: Gabrielle Graham as Yoga Instructor Nia from Ep. 7. Photo by Ron Jaffe<\/figcaption><\/figure>\n

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Twenties<\/em> was shot on an ARRI LF with ARRI Signature Primes and Rota-Polas for skin tones. Guild 1st AC Jacqueline Stahl says, \u201cThe Rota-Polas, which Michelle and I got from [Local 600 Director of Photography] Ava Berkofsky when we were all working together on Insecure<\/em>, helps smooth out and brighten darker skin tones, which absorb more light. It adds a special unique glow to the skin.\u201d<\/p>\n

Stahl notes there was a group effort by Twenties\u2019 <\/em>AC team, led by \u201cB-Camera 1st AC Scott Johnson and B-Camera 2nd AC Nick Nikides, who, Stahl explains, \u201cset up a motor on the Pola that could work with the single-channel Preston. By using the auxiliary port on the Preston, we were able to hook-up a separate motor through a single channel for Michelle and [DIT] Peter Brunet to have full control of where and how to adjust the Pola without stopping the flow of the set. This way they didn\u2019t have to ask someone to stop what they\u2019re doing to adjust; they can just do it quietly from the DIT control station.\u201d Having Michelle dial [the Pola look] in at the DIT tent was a great add by our AC team,\u201d adds B-Camera Operator Shelly Gurzi, SOC.<\/p>\n

DIT Peter Brunet\u2019s setup included an upright Deploy cart with a 25-inch Sony OLED monitor running Pomfort, Livegrade and Silverstack. \u201cWireless video is so critical, especially on a show that is mostly location-based and has high page counts every day,\u201d Stahl continues. \u201cWe used Teradek Bolt 3000 for each camera. Not having to run cables every time we move simplifies the shooting process. It helps my team and me stay more attentive to Michelle\u2019s needs for setting up the shot while maintaining the video signal for everyone else.\u201d A wireless Preston FIZ and Light Ranger system allowed Stahl to safely give the camera and operator space with the actors without getting in the way.<\/p>\n

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The filmmakers borrowed from classic Hollywood cinema, as in this dream sequence in Ep. 8, where Hattie and her boss, Ida B, recreate a moment from The Graduate<\/em>. Tipping says for many younger viewers, “this is a new reference point for iconography that would typically be a white cis-hetero male being seduced by an older white woman, now associated with a masculine-presenting Black lesbian being seduced by a queer Black woman.” Courtesy of BET<\/figcaption><\/figure>\n

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Waithe\u2019s script heavily influenced the look of the show. <\/strong>In the pilot, the three friends go to see All About Eve<\/em> at Cinespia (inside the Hollywood Forever Cemetery). The scene features a clip of Margo Channing (Bette Davis) talking about being a woman in Hollywood. \u201cThat moment sets up the show\u2019s aesthetic,\u201d explains Lawler, whose award-winning r\u00e9sum\u00e9 includes the indie feature Wildness\u00a0<\/em>(Outfest Grand Jury Award) and Rust Creek<\/em>. \u201cWe wanted to recreate the opulence of old Hollywood movies but with Black women at the center. We wanted to create frames where they could take up space in the rooms they occupied.\u201d<\/p>\n

Tipping took additional inspiration from The Big Lebowski <\/em>and Punch Drunk Love<\/em>, \u201cboth off-beat dramedies set in L.A. with these intentional flourishes of style that brought out a more whimsical or magical realism while still being grounded,\u201d he notes.<\/p>\n

There are more literal nods to iconic films, notes Production Designer Sammi Wallschlaeger. \u201c<\/em>We gently remind the viewer that for over a century, cis-gender straight white males have dominated film and television, and this is a new time for new faces and voices,\u201d Wallschlaeger shares.<\/p>\n

One example of this occurs in Episode 2, directed by Tiffany Johnson, when Hattie gets her studio security badge. She leaves the building, puts on her headphones and we hear Frank Sinatra crooning, \u201cI\u2019ve Got the World on a String.\u201d The music swells, and we are swept into a musical number shot as a \u201coner,\u201d with Wilson on Steadicam. Hattie dances down the lot, interacting with extras and executing a spin around a lamppost reminiscent of Gene Kelly\u2019s legendary turn from Singin\u2019 in the Rain<\/em>.<\/p>\n

Careful viewing also yields a victorious running moment as in the iconic Rocky<\/em>, and a museum moment reminiscent of Ferris Bueller\u2019s Day Off.<\/em> In the Season 1 finale, a dream sequence features Hattie and her boss, Ida B (Sophia Brown), recreating a moment from The Graduate. <\/em>\u201cIf you get the reference, that\u2019s great,\u201d Tipping says. \u201cAnd, if not, it\u2019s a new reference point for iconography that would typically be a white cis-hetero male being seduced by an older white woman, now associated with a masculine-presenting Black lesbian being seduced by a queer Black woman. It\u2019s a remix.\u201d<\/p>\n

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Tipping, pictured above with finder describes Lawler (left) as “a master of story. Michelle’s craft is above reproach and her ability to keep a calm, safe space, despite what chaos was going on around us, definitely sets her apart.\u201d Photo by Ron Jaffe<\/figcaption><\/figure>\n

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Twenties <\/em>has a little bit of everything, including a stunt-driving sequence.<\/strong> In Episode 6, Nia and Hattie are cruising down the road when Ida B calls with an urgent request for Hattie to return to the office. Nia hits the emergency brake and pulls a u-turn in traffic. \u201cI thought it would be hilarious if we made it a massive action sequence for no reason other than to get some laughs,\u201d Tipping reveals. Captured at the end of the day in about 45 minutes, Lawler says, \u201cWe started on the process trailer for about five pages of dialogue, then moved to an exterior MovieBird crane shot of the car doing a 180 on a country highway with five stunt cars and drivers, who had some delicate stunt choreography.\u201d<\/p>\n

\u201cWe were on a crane,\u201d Gurzi elaborates, \u201cwith Michael on the pan and tilt and me on the horizon. We started with the car upside down in the frame, and by the time the car made its u-turn, it\u2019s under the crane. I had to land the horizon at the same time, which was thrilling.\u201d<\/p>\n

The shot was nailed on the second take, with the sequence then moving down the street to the second car body, which grips had pre-rigged with a hood mount and backseat camera. A stunt cam had been placed safely in the road. Nia and Hattie\u2019s reactions were shot separately at 300 fps, Tipping says, \u201cto give the illusion of our girls spinning out like they were in The Fast and The Furious: Tokyo Drift. <\/em>They were really on go-jacks moving as fast as the grips could spin the car in a parking lot. The higher the frame rate, the less aware you are of how fast the car is spinning. You focus on the reactions of the actors, which are hilarious.\u201d<\/p>\n

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Twenties<\/em>\u00a0even includes a stunt driving sequence in Ep. 6, which Lawler says\u00a0“started on the process trailer for about five pages of dialogue, then moved to an exterior MovieBird crane shot of the car doing a 180 on a country highway with five stunt cars and drivers, who had some delicate stunt choreography.\u201d Courtesy of BET<\/figcaption><\/figure>\n

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Like its characters, Twenties <\/em>is big and bold. As Wallschlaeger describes: <\/strong>\u201cWe did not shy away from patterns, color and visual stimuli. I kept coming to [the producers] with ideas that some might find too outlandish, too bright and colorful, or too much pattern, and I\u2019d be like, \u2018Pretty much the entire space is pink and there\u2019s this wallpaper that I like, what do you think?\u2019 and they would say, \u2018Go for it!\u2019 Pink and blue feature prominently throughout, connecting gender stereotypes of masculinity versus femininity.\u201d<\/p>\n

Cinematic techniques added to the impact. Tipping describes doing \u201cextreme dolly moves, or flying in on the Steadicam, and using time speed ramps, almost like pump-fakes in basketball,\u201d he shares. \u201cThat\u2019s kind of how I described it to Lena when pitching. A pump-fake that sets up the audience for something monumental, and it\u2019s just Hattie reading a book. We\u2019d lean into an exaggerated move knowing we were using a sweeping \u2018Hollywood\u2019 score mixed with contemporary hip-hop and nostalgic tracks, like Whitney.\u201d<\/p>\n

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Lawler, who says she was “raised on motivated camera movement,” \u00a0had fun breaking from that mold on Twenties.<\/em>\u00a0“Justin loves to quickly push into a character\u2019s face for an emotional flourish,” she describes, “to visually elevates the comedy.” Courtesy of BET<\/figcaption><\/figure>\n

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Lawler says the unmotivated camera moves bring a certain melodrama. \u201cThey heighten the experience the character is having,\u201d she notes. \u201cJustin loves to quickly push into a character\u2019s face for an emotional flourish, which visually elevates the comedy. I was raised on motivated camera movement, so it was fun for me to break out of that and do a snap push-in on an emotional beat.\u201d<\/p>\n

Quick push-ins bring the audience into the moment with the characters, as in Episode 7, when Marie finds out that her nemesis, Ben, got the promotion she wanted. The sequence begins with tight shots of the email delivering the news and then cuts to a medium-wide shot before quickly pushing into Marie for her reaction. \u201cSince the camera is high, it\u2019s as if the news is descending upon her, and when the camera lands in a medium close-up, Marie turns and says into the camera, \u2018Ben got the promotion,\u2019\u201d Lawler recounts. \u201cShe\u2019s telling the audience before she tells her boyfriend, who\u2019s sitting right across from her! She\u2019s confiding in us.\u201d<\/p>\n

Stahl says the non-traditional combinations kept her on her toes. \u201cThey force me to stay sharp, knowing what\u2019s needed for each specific camera package,\u201d she says. \u201cAt prep, I like to build one cohesive build for all the possible camera scenarios. This helps my crew and me be more efficient, smooth, and, most of the time, unnoticed.\u201d<\/p>\n

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Lawler, Tipping, and Wallschlaeger \u2013 who all met at AFI \u2013 spent hours in a van scouting coffee shops, apartment exteriors, and other locales. Lawler did lighting tests with different paint colors and fabrics to see how they would read on camera. Above: Art gallery scene from Ep. 7 with L to R: Marie (Christina Elmore), Hattie (Jonica T. Gibbs) and Nia (Gabrielle Graham). \/ Courtesy of BET<\/figcaption><\/figure>\n

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As befitting any Hollywood romance, Los Angeles is portrayed as another<\/strong> character, with lilting establishing and interstitial shots of the city scattered throughout. \u201cAnytime we were away from the Paramount backlot or Ida B\u2019s mansion,\u201d Tipping relates, \u201cwe tried to stick to the Hollywood we knew in our<\/em> 20s, around Cinespia and improv clubs on Santa Monica Boulevard. Marie and Chuck\u2019s characters also led us organically to shooting a lot in and around West Adams.\u201d<\/p>\n

Extensive use of practical locations added texture and character. Lawler, Tipping and Wallschlaeger \u2013 who all met at AFI \u2013 spent hours in a van scouting coffee shops, apartment exteriors and other locales. They\u2019d imagine where certain scenes could be and how they\u2019d play out. Lawler did lighting tests with different paint colors and fabrics to see how they would read on camera. One of the last locations finalized was Ida B\u2019s You Go Girl production offices, where Hattie works. Unable to find a suitable space, the team decided to use Tipping\u2019s actual offices in Sherman Oaks, which Wallschlaeger describes as aesthetically challenging. \u201cWe brought in all new carpet, painted, wallpapered, built a wall, added drapes and shades, frosted windows, moved in all new furniture and office dressing. It was fully transformed from this dingy space into the candy-colored home of Hattie\u2019s new dream job. When she walks into You Go Girl for the first time, you can feel that it is a special place with lots of energy and movement.\u201d<\/p>\n

 <\/p>\n

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Production Designer Sammi Wallschlaeger says\u00a0Twenties<\/em>\u00a0is as bold and vibrant as its characters. “We did not shy away from patterns and color and visual stimuli. Pink and blue feature prominently, connecting gender stereotypes of masculinity versus femininity,” as above, Ep. 2. \/ Courtesy of \u00a0BET<\/figcaption><\/figure>\n

 <\/p>\n

Such creativity came freely to Twenties<\/em>, with many crew members already familiar with each other from AFI or working on Issa Rae\u2019s award-winning Insecure <\/em>for HBO. (Lawler shot five episodes in Season 4.) The shorthand enabled the Twenties <\/em>team to make their ambitious days.<\/p>\n

\u201cThere was a built-in familiarity in on-set work ethic, plus, we were already friends, and truly, there is nothing better than getting the opportunity to be on set and working in the world with friends,\u201d Wallschlaeger concludes. Tipping agrees: \u201cThe stars seemed to align when we brought together the team to realize Lena\u2019s vision. No matter what the schedule threw at us \u2013 time, budget, or whatever obstacle we were faced with during production \u2013 Michelle always knew the solution because she\u2019s a master of story. Her craft is above reproach and her ability to keep a calm, safe space, despite what chaos was going on around us, definitely sets her apart.\u201d Tipping says Lawler \u201cinvests in and nurtures\u201d a sense of community, \u201cand in this business, you need to find your people.\u201d<\/p>\n

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Lawler says Waithe (above during season finale), inspires everyone to elevate their game. “Lena’s always asking: \u2018How can we move the camera?\u2019, \u2018How can we do this differently?\u2019, ‘How can we visually convey what’s happening for this character emotionally?’ For me, that\u2019s the fun part, pushing past the automatic default and going deeper.” \/ Photo by Ron Jaffe<\/figcaption><\/figure>\n

 <\/p>\n

Twenties<\/em>: Local 600 Camera Team<\/strong><\/p>\n

Director of Photography: Michelle Lawler<\/strong><\/p>\n

A-Camera Operator\/Steadicam: Michael Wilson<\/strong><\/p>\n

B-Camera Operator: Shelly Gurzi<\/strong><\/p>\n

A-Camera 1st<\/sup> AC: Jacqueline Stahl<\/strong><\/p>\n

A-Camera 2nd<\/sup> AC: Rafiel Chait<\/strong><\/p>\n

B-Camera 1st<\/sup> AC\u2019s: Gretchen Hatz and Scott Johnson<\/strong><\/p>\n

B-Camera 2nd<\/sup> AC: Nicholas \u201cNick\u201d Nikides<\/strong><\/p>\n

DIT: Peter Brunet<\/strong><\/p>\n

Utility: Amanda Hamaday<\/strong><\/p>\n

Unit Still Photographer: Ron Jaffe<\/strong><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Local 600 Director of Photography Michelle Lawler, and her close-knit Guild camera team, help Lena Waithe create a new cinematic iconography in BET’s\u00a0Twenties. by Margot Lester \/\u00a0Photos by Ron Jaffe \/ Screengrabs Courtesy of BET   Lena Waithe is no stranger to breaking ground. The actor, writer and creator was the first Black woman to win an Emmy \u2013 for Outstanding Writing for a Comedy Series \u2013 for the \u201cThanksgiving\u201d episode of Master of None. Her latest venture, Twenties, is […]<\/p>\n","protected":false},"author":2,"featured_media":10222,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-10220","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nHollywood Shuffle - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/hollywood-shuffle\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hollywood Shuffle - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Local 600 Director of Photography Michelle Lawler, and her close-knit Guild camera team, help Lena Waithe create a new cinematic iconography in BET’s\u00a0Twenties. by Margot Lester \/\u00a0Photos by Ron Jaffe \/ Screengrabs Courtesy of BET   Lena Waithe is no stranger to breaking ground. The actor, writer and creator was the first Black woman to win an Emmy \u2013 for Outstanding Writing for a Comedy Series \u2013 for the \u201cThanksgiving\u201d episode of Master of None. 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