{"id":11064,"date":"2021-04-07T17:37:57","date_gmt":"2021-04-08T00:37:57","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=11064"},"modified":"2021-05-28T16:47:43","modified_gmt":"2021-05-28T23:47:43","slug":"cherry-bomb","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/cherry-bomb\/","title":{"rendered":"Cherry Bomb"},"content":{"rendered":"
Moxie<\/em>, Director of Photography Tom Magill’s second feature for actor\/director Amy Poehler, is a crash course in teen empowerment. \u00a0<\/span><\/span><\/div>\n

by Pauline Rogers \/ Photos by Colleen Hayes\/Netflix unless otherwise noted<\/span><\/span><\/p>\n

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\u201cIt\u2019s about finding your voice and making yourself heard,\u201d<\/strong> says actor\/director Amy Poehler of Netflix\u2019s recent feature Moxie<\/em>. Set in the Pacific Northwest, Moxie<\/em> follows Vivian (Hadley Robinson, from Little Women <\/em>and Utopia<\/em>), a shy young woman who, inspired by her mother\u2019s (Amy Poehler) rebellious past, creates an anonymous zine known as Moxie!\u00a0<\/em>to call out sexism in her school.<\/p>\n

To tell Vivian\u2019s story, not as a typical comedy, Poehler turned to Guild Director of Photography Tom Magill. \u201cTom and I met when he was an operator on Parks and Recreation<\/em>,\u201d Poehler explains, \u201cand he eventually became the DP. Tom is such a delight \u2013 collaborative, curious, and funny. He knows how to create a mood and a memory, but he also knows that this job should be fun.\u201d<\/p>\n

Magill says he recalls one particular day, on Season 5 of Parks and Recreation<\/em>, shooting on location at the Sportsmen\u2019s Lodge in Studio City, CA. \u201cWe were between takes, and I went to Amy to give her a blocking adjustment. We chatted for a brief moment, and then she said, \u2018I want you to shoot a movie with me one day.\u2019 I was so flattered that she thought enough of my work to want to team up for a feature. And then that happened in 2019, with her directorial debut, Wine Country<\/em>. We had a blast shooting that, and it eventually led to our second film together, Moxie<\/em>.\u201d<\/p>\n

Magill says Poehler is a solid director with a clear vision of what she wants and is great at communicating her ideas to every department. \u201cAmy also has an obvious connection with actors,\u201d he shares. \u201cShe is very thorough in prep. On Wine Country<\/em>, we hired second-teamers and blocked out every scene in the movie beforehand. It helped save us so much time on the shoot days because almost every scene in that film had six to seven people.\u201d<\/p>\n

That method worked so well, Magill and Poehler wanted to do that same thing on Moxie<\/em> \u2013 \u201cbut we ran out of prep time,\u201d Magill adds. \u201cAmy did have every scene storyboarded, and we used that as our roadmap. Things can change at the last minute, as everyone knows, and it was fun seeing her be able to pivot and problem-solve in the moment.\u201d<\/p>\n

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Magill describes Poehler (above) as “a solid director with a clear vision” who is great at communicating her ideas to every department. \u00a0\u201cOn Wine Country<\/em>,” Magill says, “we hired second-teamers and blocked out every scene in the movie beforehand.”<\/figcaption><\/figure>\n

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Setting the visual tone to support the story but not fall into traditional comedy<\/strong> clich\u00e9s was tricky; Poehler tackled that challenge head-on with an unusual dramatic opening that would immediately show the audience Vivian is at a turning point in her life. \u201cI wanted to capture the wild and dangerous version of the Vivian who is trying to find her way out,\u201d Poehler adds.<\/p>\n

As is often the case, the first scene in the movie was the last to be captured; because of obligations, Magill wasn\u2019t available, so Matt Moriarty, who lives near Portland, and had operated a snow sequence for Magill a few years back on Angie Tribeca<\/em>, was called on to shoot the opening \u201cforest\u201d sequence at Milo McIver State Park. \u201cIt\u2019s a dream sequence where the audience gets introduced to Vivian little by little,\u201d Moriarty explains. \u201cAmy wanted a sense of bewilderment throughout, not knowing who this girl is or why she\u2019s running. We see her face only in flashes until we push into a close-up and a silent scream.\u201d<\/p>\n

Moriarty adds that \u201cthe scream of this girl \u2013 where no sound comes out\u00a0\u2013 sets up the entire story, as it represents the struggle to free the voices of young women. At the end, when the entire Moxie<\/em> brigade screams \u2013 deafeningly \u2013 it\u2019s a very satisfying payoff that takes you back to those first few moments.\u201d<\/p>\n

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A key dream sequence that opens the movie, and reveals Vivian’s (Hadley Robinson) pent-up frustration, was shot by Oregon-based DP\/Operator Matt Moriarty (above on Steadicam). Moriarty says Poehler “wanted a sense of bewilderment throughout, not knowing who this girl is or why she\u2019s running.” \/ Photo by Scott Green\/ Netflix<\/figcaption><\/figure>\n

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As a long-time Steadicam operator, Moriarty has done a lot<\/strong> of running with a camera and has strong opinions on the best approach. \u201cFor shots leading an actor who is running, I prefer the approach Roger Deakins used on 1917<\/em>,\u201d he explains, \u201cwhere one person runs the rig around without also having to worry about framing upside down and backward; then another person pans, tilts and talks the running operator through the shot on a headset.\u201d<\/p>\n

Moriarty brought in Phil Anderson, SOC, to do the running on the leading shots, with a Ronin II mounted to his Steadicam arm, \u201cand me on the wheels,\u201d he continues. \u201cIn \u2018high mode,\u2019 we could do all the leading close-ups, weaving around trees. We could also undersling the rig for a super-low mode, where we could skim the tops of the ferns on an 18-millimeter lens with the huge trees looming overhead.<\/p>\n

\u201cWhile the Ronin switched from low to high,\u201d he adds, \u201cI\u2019d jump on my Steadicam and do either the following running shots or the more delicate push-ins and storytelling moves. The goal was \u2018to never not be shooting\u2019 since we had only about five hours to get 20-plus setups, covering acres of the forest. I\u2019m so proud of my Portland crew for how they managed the leapfrogging of crane, Steadicam, Ronin, and dolly tracks, not only on that day but on the night exteriors where we either made rain or worked feverishly to hide real rain with grip work.\u201d<\/p>\n

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The Moxie<\/em> team wanted to embrace shadows and play many scenes on the downside, despite the comic tone. “That\u2019s one of the reasons we stayed with the Sony VENICE [also used on Wine Country<\/em>],” Magill shares. “The super-sensitive ISO allowed us to use minimal light and still get great-looking images.”<\/figcaption><\/figure>\n

As noted, viewers are made aware this isn\u2019t an ordinary<\/strong> comedy from frame one. Then it fell to Poehler, Magill, and the team to play out the story with the same kind of emotional arc but in a more grounded reality. As Magill describes: \u201cWe didn\u2019t want light and bright but wanted to embrace some shadows and play a lot of it on the downside. That\u2019s one of the reasons we stayed with the Sony VENICE. The super-sensitive ISO allowed us to use minimal light and still get great-looking images. Amy and I shot Wine Country <\/em>with the VENICE when it was in the early beta phase and loved what we got. Now that Sony has had a few software upgrades, it was an easy choice to stay with.\u201d<\/p>\n

As for lighting \u2013 the filmmakers were careful to set a tone for each emotional phase.<\/p>\n

\u201cWe wanted Vivian\u2019s house to feel warm and inviting and the high school to feel like dangerous territory,\u201d Poehler explains. \u201cWe wanted there to be a classic look and feel to the scenes and to try to keep things grounded in a real-life context.\u201d<\/p>\n

One of the biggest challenges was the Southern California sun, and how to make L.A. feel like the Pacific Northwest. [See Trinkets<\/em><\/a>,<\/a> ICG Magazine <\/a>May 2019<\/a>,] about another Portland-based Netflix show for which Chief Lighting Technician Neil Holcomb describes the frequent cloud cover as \u201cone giant softbox.\u201d] \u201cOur exterior high-school location was in El Segundo, which is near the coast,\u201d Magill explains. \u201cWe tried to schedule our exterior work in the early morning or late afternoon, using the help of the marine layer that generally hovered around us. We had fly swatters to help with cover if the sun poked through. Our overhead package was one-half soft frost and a quarter black silk on the bottom of our 20-by-20. We also used 15-percent-grey 12-by-12 bounces anytime we needed to push light through a window.\u201d<\/p>\n

Magill says the HMI\u2019s used on bounces would always wear a quarter blue. \u201cThe 15-percent grey cut the harshness of the warmth and played more like an overcast feel,\u201d he continues. \u201cWe also never pushed any hard light through windows. Everything was soft and diffused. The only time we ran into trouble was in the back of the school. There wasn\u2019t any room to drive our fly swatters in, so those are the only scenes in the movie with harder sunlight. We did what we could in the DI to knock a lot of that down and match the rest of the exteriors.\u201d<\/p>\n

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Gaffer Willie Dawkins says shooting in a live school made lighting enhancement key. “It would have taken too much time to change all the existing lighting, as we usually do. So Tom and I decided to play warm trophy cases against a cooler, blue look that we could control in the hallways.” Above: Nico Hiraga as Vivian’s boyfriend, Seth.<\/figcaption><\/figure>\n

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Chief Lighting Technician Willie Dawkins calls the high school<\/strong>\u00a0location \u201cthe elephant in the room.\u201d He says the idea was to enhance and supplement the existing lighting that the school offered. “One example is the hallways,” Dawkins notes. “Since we were shooting a live school, enhancement was key. It would have taken too much time to change all the existing lighting as we usually do, so Tom and I decided to play warm trophy cases against a cooler, blue look that we could control in the hallways.\u201d<\/p>\n

With the existing light too dark, Dawkins had his Rigging Gaffer, Lamar Houston, and 1st Unit Best Boy, Lance Dickinson, fabricate a light rig using Kinotech dual arrays to add ambiance. \u201cThe idea behind a lot of our lighting was always to contrast two worlds at the school,\u201d Dawkins adds. \u201cThere is the old school world, where alpha male students, mostly athletes, were celebrated and had their run of the place, played against the new world, where female students are attempting to have their voices heard.\u201d<\/p>\n

One of the most visually interesting (and challenging) school sequences is in Vivian\u2019s classroom. As AC Ian Barbella recounts: \u201cVivian is feeling very sorry about her actions in the previous scene, and we start almost at minimum on her face, then pull out to see the full row she\u2019s sitting in, continue through the full scene unfolding around her, and then push all the way back into the finish.\u201d<\/p>\n

For Operator Ari Robbins, SOC, working with the Trinity, the scene was a delicate balance. \u201cThe Trinity afforded us the ability to move fast and get some interesting camera moves without having to lay track or dance floor,\u201d explains Magill. \u201cIt especially came in handy in cramped spaces like Vivian\u2019s bedroom and these narrow school hallways. Ari is a master at it and always takes an idea and can make it better.\u201d (Read about Robbins\u2019 work on the Oscar-winning La La Land<\/em><\/a>,<\/a> ICG<\/a> December 2016<\/a>.<\/a>)<\/a><\/p>\n

Even with floor marks and using the architecture of the room and desks, Barbella had to know his distance. \u201cThe shot starts with the least amount of depth but also needs to be timed just right,\u201d he continues. \u201cWe had to make sure that the pulls shifted the emotion and story of the scene at the right time, as it\u2019s a great take about isolation. Having someone like Ari operating provides the confidence you\u2019re going to get exactly what the director and DP are looking for.\u201d<\/p>\n

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For cramped scenes inside Vivan’s bedroom (above), Operator Ari Robbins, SOC, used the Trinity, which allowed the team to move fast and get interesting camera moves without having to lay track or dance floor. Magill calls Robbins “a master at [the Trinity] who always takes an idea and makes it better.”<\/figcaption><\/figure>\n

Vivian in isolation was also a chance to approach the story in a<\/strong> different visual style. Dawkins notes that \u201cwe used a lot of half and three-quarter lighting on Vivian, especially in the bedroom. This is her inner sanctum, creative haven, and comfort zone \u2013 the lighting is warm and always contrasted against blue windows, which are the outside world. We used S60 and S30 SkyPanels outside, so we could readily control the color temperature. Inside the room, 19- and 22-inch Jem balls and Westcott Strip lights helped to create a soft and warm look. The Westcotts are an elongated light, but short in height, so we could easily hide them above the camera.\u201d<\/p>\n

It\u2019s inside this \u201cpersonal comfort zone\u201d that Vivian decides to take action against the status quo. She creates anonymous \u201czines,\u201d unknowingly setting off a storm that ultimately disrupts the sexist norm and motivates the young women of her school to realize their own power. \u201cAmy wanted to create several montages of her making [the zines] throughout the film,\u201d explains Magill. \u201cWe were trying to think of an interesting way to shoot the montages.\u201d<\/p>\n

Barbella adds that there were a few options. \u201cTom and I talked about whether we wanted to go the route of a skater scope and continue to use our Master Primes with diopters, but after talking more about it, we realized that the use of the Revolution snorkel camera gave us so much more latitude and better depth and field of view.\u201d<\/p>\n

Magill laughs, adding that \u201cAmy would always refer to it as our \u2018seafood-tower commercial cam\u2019 because it is typically used heavily for product shots or food commercials!\u201d Regardless of what they called it, Magill and Barbella both agree that the choice helped \u201cpull the viewer into the zine\u2019s creation and add just the right amount of heightened reality,\u201d Barbella adds.<\/p>\n

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Poehler, who met Magill (above with Dolly Grip Michael Orr) when he was an operator on Parks and Recreation<\/em>, says the DP is “a delight to work with \u2013 collaborative, curious, and funny. Tom knows how to create a mood and a memory, but he also knows that this job should be fun,\u201d she says.<\/figcaption><\/figure>\n

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Another interesting sequence, both technically and narratively<\/strong>, is an intimate moment between Vivian and her boyfriend, Seth, as they sit in his car at a football game. Dawkins points out that \u201cthere is no motivated lighting inside the car, such as from a visor or a glove compartment, so we decided to park the car underneath a natural streetlamp for the master shot so that we could establish a light from which to motivate our lighting.\u201d<\/p>\n

Once the team got their establishing shot and moved into coverage, they blacked out the streetlamp to allow Magill to use traditional lighting elements. \u201cKey Grip Tim Merrill built a 12-foot Menace Arm, and we rigged a 2K Blonde with sodium vapor gel to it so that we could control the color and angle of our light,\u201d Dawkins adds. \u201cWe also used a 2K Variac dimmer to set the light to Tom\u2019s desired level.\u201d<\/p>\n

Leaving Seth in the warmer vapor light from the \u201cstreetlamp\u201d blonde, they lit Vivian with created \u201cambient\u201d light from the stadium, which played cooler. An ARRI M18 HMI was used to mimic stadium lighting at 5500K and bounced into a 4-by-8 board \u2013 again playing warm and cool against each other. \u201cWe decided to add just a hint of a 2-foot Torpedo Light \u2013 which is my version of an Astera tube inside a diffused softbox \u2013 for fill over the camera as it moves in slowly on the actors,\u201d Dawkins recalls. \u201cWe fogged the windows to create atmosphere, a protective bubble of sorts, and our characters had their little world in which to be intimate.\u201d<\/p>\n

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Steadicam Operator Robbins (above) had two complex “oners” for two different house party scenes. Magill recounts how he placed string lights (used as set decoration) on Robbins’ arm for a festive feel, “but they looked so good during a rehearsal, we tweaked them to our desired level and used them as a fill light for our characters.” \/ Photo Courtesy of Tom Magill.<\/figcaption><\/figure>\n

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Where would a teen angst movie be without party sequences?<\/strong> In Moxie<\/em>, there are two very different types, both of which include long, complex Steadicam moves for Robbins. \u201cIn the middle of the story, there is a sequence where two people walk through a big house party,\u201d explains Magill. \u201cAmy and I always saw this as a Steadicam oner. We rehearsed the shot for half a day, and Ari moved through the big house interior, just about seeing 360 degrees.\u201d<\/p>\n

Magill says the goal was to use as many practical lights as possible and just hide some Astera tubes out of the frame. \u201cThere were a lot of string lights decorating the house,\u201d he recalls, \u201cand we had some extras lying around during one of our camera rehearsals. I thought it would be funny to decorate Ari\u2019s Steadicam arm with the string lights to make it feel festive, like the party. But when we watched a second-team rehearsal with them dimmed down, they looked fantastic! So we tweaked [the string lights] to our desired level and used them as a subtle fill light as Vivian and Claudia walk through the party. I love that during a long day when everyone is tired and still trying to have fun, we found a new way to solve a problem. It\u2019s a technique that I\u2019d absolutely try again. Ari had to navigate close to 50 background people as well as some cast members hitting very specific marks. Because we used the VENICE and had a lot of practical light, our stop was close to wide open. That made pulling focus a challenge for Ian, but he nailed every take.\u201d<\/p>\n

Since the scene represents freedom for the young women, Dawkins felt that polychromatic lighting would best represent a sort of melting pot of personalities. \u201cIt\u2019s about togetherness and camaraderie, and the changing of colors along with the addition of some atmospheric smoke helped convey that,\u201d he offers. \u201cColors can play an important role in conveying information and creating certain moods and emotions. Moxie<\/em> has a very uplifting ending, and the color themes worked out well for what the film was trying to achieve.\u201d<\/p>\n

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Shooting L.A. for Oregon was challenging, and even ironic. The last shot of the film, where Vivian gazes out on the revolution she created, was meant to be bright and sunny (breaking with the region’s constant cloud cover) but was ultimately impacted by a local marine layer. Photo by Claudette Barius, SMPSP \/ Netflix<\/figcaption><\/figure>\n

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According to Magill, the last shot of the movie, with Vivian<\/strong> gazing out on the revolution she started, needed to be a special moment for the character. \u201cSo we thought it would be interesting if we used the Cinefade filter and slowly had the world fall away around her. Since the movie had a cloudy feeling, we liked the idea that the walkout would be bright and sunny, supporting the change in the Moxie<\/em> movement,\u201d he describes.<\/p>\n

The ending walkout was shot over two days and Magill says the team was \u201clucky to have sunny days in El Segundo. In prep, we scouted a perfect spot where Vivian could stand and have a beautiful golden backlight moment that would also flare the lens,\u201d he explains. \u201cAs it got late in the day and closer to that setup, we slowly watched the marine layer creep in, and by the time we were ready to shoot, it was completely overcast with no sun! It wasn\u2019t visually as dramatic as we imagined, but hopefully, the same emotional tone was felt.\u201d<\/p>\n

Magill concludes, \u201cworking on Moxie<\/em> with Amy was such a blast. The movie has some lighthearted moments as well as some very serious ones. I hope we were able to find that balance visually and complement the story.\u201d<\/p>\n

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Magill says that Poehler (above with Moxie<\/em> cast)\u00a0“has a strong and obvious connection with actors” \u2013 \u00a0a clear benefit on each of the projects they’ve done together. Photo by\u00a0Claudette Barius, SMPSP \/ Netflix<\/figcaption><\/figure>\n

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Moxie –\u00a0<\/em>Local 600 Crew<\/strong><\/span><\/p>\n

Los Angeles Unit:<\/strong><\/div>\n
<\/div>\n
Director of Photography: Tom Magill<\/div>\n
A Camera\/Steadicam Operator: \u00a0Ari Robbins, SOC<\/div>\n
B Camera Operator: \u00a0Joshua Harrison, SOC<\/div>\n
C Camera Operator: \u00a0Keith Dunkerly<\/div>\n
D Camera Operator: Gretchen Warthen, SOC<\/div>\n
A Camera 1st AC: \u00a0Ian T. Barbella<\/div>\n
B Camera 1st AC: \u00a0Adam Cowan<\/div>\n
C Camera 1st AC: Melissa Fisher<\/div>\n
D Camera 1st AC: \u00a0Shaun Mayor<\/div>\n
A Camera 2nd AC: Giselle Gonzalez<\/div>\n
B Camera 2nd AC: \u00a0Dustin Fruge<\/div>\n
C Camera 2nd AC: Skip Mobley<\/div>\n
D Camera 2nd AC: \u00a0Angelo Gentile III<\/div>\n
Camera Loader: \u00a0Jeremy Hill<\/div>\n
Camera Utility: \u00a0K.C. Lauf<\/div>\n

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Portland, OR Unit:<\/strong><\/p>\n

Director of Photography: Matthew Moriarty<\/div>\n
Operator: Phil Anderson, SOC<\/div>\n
1st AC’s: Jerry Turner, Patrick LaValley<\/div>\n
2nd AC’s: Mike Crockett,\u00a0Danielle Eddington<\/div>\n
Loader: Rodrigo Melgarejo<\/div>\n
Utility: Sika Stanton<\/div>\n

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

Moxie, Director of Photography Tom Magill’s second feature for actor\/director Amy Poehler, is a crash course in teen empowerment. \u00a0 by Pauline Rogers \/ Photos by Colleen Hayes\/Netflix unless otherwise noted   \u201cIt\u2019s about finding your voice and making yourself heard,\u201d says actor\/director Amy Poehler of Netflix\u2019s recent feature Moxie. Set in the Pacific Northwest, Moxie follows Vivian (Hadley Robinson, from Little Women and Utopia), a shy young woman who, inspired by her mother\u2019s (Amy Poehler) rebellious past, creates an […]<\/p>\n","protected":false},"author":2,"featured_media":11075,"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-11064","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nCherry Bomb - 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\/cherry-bomb\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cherry Bomb - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Moxie, Director of Photography Tom Magill’s second feature for actor\/director Amy Poehler, is a crash course in teen empowerment. \u00a0 by Pauline Rogers \/ Photos by Colleen Hayes\/Netflix unless otherwise noted   \u201cIt\u2019s about finding your voice and making yourself heard,\u201d says actor\/director Amy Poehler of Netflix\u2019s recent feature Moxie. 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