{"id":11345,"date":"2021-07-06T13:35:51","date_gmt":"2021-07-06T20:35:51","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=11345"},"modified":"2021-07-06T13:35:51","modified_gmt":"2021-07-06T20:35:51","slug":"moonlight-becomes-her","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/moonlight-becomes-her\/","title":{"rendered":"Moonlight Becomes Her"},"content":{"rendered":"

Darius Khondji, ASC, AFC, helps bring Stephen King’s dark romance novel to the small screen in a new eight-part limited series.<\/span><\/span><\/p>\n

by Matt Hurwitz \/ Photos by Peter Kramer \/ Framegrabs courtesy of Apple TV+<\/span><\/span><\/p>\n

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Lisey\u2019s Story<\/em>, the new series on Apple TV +<\/strong> adapted by Stephen King from his 2006 award-winning novel (according to King, his favorite), revels in two elements \u2013 darkness and water \u2013 both of which are put to stunning thematic use by director Pablo Larra\u00edn and director of photography Darius Khondji, ASC, AFC.<\/p>\n

The story centers around Lisey (pronounced Lee-see<\/em>) Landon (Julianne Moore), the widow of wildly popular horror\/fantasy author Scott Landon, who still dreams about (and grieves) her husband two years after his death. An academic fan of Landon\u2019s, Professor Roger Dashmiel (Ron Cephas Jones), wants Lisey to hand over the author\u2019s unpublished works, and when she refuses, Dashmiel enlists Jimmy Dooley (Dane DeHaan), an obsessed fan of Landon\u2019s who\u2019s willing to resort to violence to obtain the dead author\u2019s manuscript.<\/p>\n

Lisey\u2019s memories of her husband, told in flashback, reveal Landon\u2019s troubled childhood with a poor, psychotic father, as well as his connection to a fantastical place, Boo\u2019ya Moon, introduced to him as a child by his dead older brother. Landon, or anyone with an awareness of it, accesses Boo\u2019ya Moon via its connection to water \u2013 a large healing pool surrounded by ghostly trapped souls. Visitors to Boo\u2019ya Moon travel through a large Fairy Forest and past \u201cThe Long Boy,\u201d a horrible creature made up of lost souls captured over the centuries. Lisey\u2019s sister, Amanda (Joan Allen), visible in this world in a catatonic state, finds herself trapped there, although she is key to Lisey\u2019s attempts to evade Dooley.<\/p>\n

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Two-time-Oscar-nominated Production Designer Guy Hendrix Dyas says early Khondji-shot films like Delicatessen<\/em> and The City of Lost Children<\/em> “were inspirational to a generation of art directors and designers.\u201d Above: Khondji (left) with Director Pablo Larra\u00edn \/ Photo by Peter Kramer<\/figcaption><\/figure>\n

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Khondji says he was drawn to the project by Larra\u00edn<\/strong>, whose work he has charted for many years. \u201cAnd I decided to go on this journey with Pablo,\u201d the cinematographer states. Lisey\u2019s Story <\/em>was shot cross-boarded, on location in early 2020, before moving to Steiner Studios Brooklyn. Production was halted by the pandemic, before resuming in September and wrapping in February 2021. Two-time-Oscar-nominated Production Designer Guy Hendrix Dyas, who has years of fantasy set design experience, says he, in turn, was influenced by Khondji\u2019s early work with Jean-Pierre Jeunet and films like Delicatessen <\/em>and The City of Lost Children.<\/em> \u201cTheir work was inspirational to a generation of art directors and designers,\u201d Dyas shares. \u201cAnd Pablo, though he doesn\u2019t storyboard, has the complete picture of how he\u2019s going to shoot. He has a plan and sticks to it. Pablo and Darius let you facilitate the storytelling\u00a0in a creative and collaborative way.\u201d<\/p>\n

A team of veteran IATSE crew members surrounded Khondji, including A-camera\/Steadicam Operator Jim McConkey, SOC; 1st AC Chris Silano; B-camera Operator Wylda Bayr\u00f3n; Chief Lighting Technician Jason Velez and Key Grip Rich Guinness; as well as DIT Gabriel Kolodny. \u201cBy my nature, I love tracks,\u201d Khondji adds. \u201cAnd Jimmy operates the Steadicam like tracks. He\u2019s constantly coming up with interesting ideas. He doesn\u2019t just reproduce things you want \u2013 he gives you an extra layer.\u201d<\/p>\n

Though Khondji and Larra\u00edn briefly discussed shooting the series on film, they opted instead for ALEXA 65, which Khondji used several years back on The Crowd<\/em>, for director Philippe Parreno. \u201cThere was only one other DP using it, for some VistaVision shots for VFX for IMAX,\u201d Khondji notes. \u201cIt gives me the pleasure of film and of anamorphic. It was strange to propose it for a TV project, but it has a way of seeing both close-ups and landscapes differently, compared to regular Super 35. And the camera, with its large sensor, has lots of definition. But more importantly, it brings a lot of presence for the main character.<\/p>\n

\u201cBoth Pablo and I wanted to have a depth in the darkness,” Khondji shares. “I love having the slightest details, allowing your imagination to create more. And this camera goes deep in the dark, but also, with the sensor\u2019s high dynamic range, can go high in highlights, at the same time.\u201d<\/p>\n

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\u201cBoth Pablo and I wanted a depth in the darkness,” Khondji shares. “I love having the slightest details, allowing your imagination to create more.”<\/figcaption><\/figure>\n

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While he did employ Panavision Spheros and Thalias,<\/strong> Khondji\u2019s glass of choice was Tribe7\u2019s Blackwing7 developed by Bradford Young, ASC, and lens technologist Neil Fanthom. As Silano describes: \u201cDarius loves old glass. And [the ALEXA 65] chip is so sharp, you need that vintage glass to smooth things out. The beauty of the Blackwings is that they\u2019re modern glass but designed like vintage lenses.\u201d The lenses are also tunable, with three different looks, and the \u201cT\u201d (Transition) look, halfway between the \u201cS\u201d (Standard) and \u201cX\u201d (Extreme), was chosen by Khondji.<\/p>\n

\u201cThe way Pablo likes to frame, he center-punches, to accentuate a character,\u201d Silano continues. \u201cHis favorite of the set is the 47 millimeter, which spreads out into the corner of the image and invites your vision into the center.\u201d<\/p>\n

McConkey recalls a funeral scene where Dooley wanders in between mourners in the foreground and the background. \u201cWith these lenses, he comes into the shot, and both the foreground and background are super soft, and he\u2019s sharp,\u201d the operator explains, \u201clike a little slit of reality he passes through.\u201d<\/p>\n

Silano credits the Preston Light Ranger2 with not only holding focus in dark situations but enabling crew and cast to work without marks. \u201cWe can move the camera wherever we want as the actors don\u2019t have to be tagged with marks. If an actor throws a glance and doesn\u2019t do it every take, the Light Ranger can catch it.\u201d McConkey credits the Wave1 Steadicam Stabilizer as helping to level the cumbersome ALEXA 65. \u201cI have much more brain space to think about composition and timing, without also thinking about \u2018Is it level?\u2019\u201d he adds. \u201cIt pivots on arced races, constantly looking for what you say is whatever you want to be level. And it\u2019s instantaneous \u2013 it\u2019s always level.\u201d<\/p>\n

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A-camera 1st AC Chris Silano says “the way Pablo likes to frame, he center-punches, to accentuate a character. His favorite in the [Tribe7\u2019s Blackwing7] set is the 47mm, which spreads out into the corner of the image and invites your vision into the center.\u201d \/ Photo by Peter Kramer<\/figcaption><\/figure>\u00a0<\/strong><\/p>\n

To help achieve the series\u2019 \u201cdeep color palette,\u201d <\/strong>Khondji turned to final colorist Damien Vandercruyssen, at Harbor Picture Company in New York, and DIT Gabriel Kolodny, whom the DP calls his \u201cDIA\u201d \u2013 Digital Imaging Artist.<\/p>\n

Kolodny recounts how Khondji wanted a certain base look \u201cfrom which I would color-correct.\u201d He and Vandercruyssen created a base LUT, bluish in shadows, with slight golden highlights, that Kolodny describes as \u201cvery soft, with which I would not be boxed in by something too contrasty.\u201d Adds Vandercruyssen: \u201cGabe likes having a soft curve on the LUT, so he can go quite far in the CDL correction on set.\u201d Kolodny worked closely with Velez to refine the look for individual scenes. \u201cDarius gives you the freedom to improvise,\u201d he continues. \u201cAnd then Jason would refine the lighting, based on what we were doing, and we\u2019d go back and forth. Darius refers to it as \u2018music,\u2019 and that\u2019s what it\u2019s like.\u201d<\/p>\n

The look was applied across nearly every key setting, like the Landon home, shot at Bluefield Farm in Blauvelt, NY, and a barn on the same property, the lower level of which was used for Lisey\u2019s office and storage. [The upstairs was unsafe, so a practical set was designed and built at Steiner\u2019s Capsys Stage in Brooklyn.]<\/p>\n

\u201cIt\u2019s a romanticized version of what we imagined Scott Landon\u2019s study to be like,\u201d Dyas explains, with exposed wood and plenty of detail, including 60 different fake Scott Landon book titles, all in multiple languages. \u201cOur Graphic Design team created covers for those, all with unscripted book titles, whose names we all contributed, and designed in the flavor of Stephen King book covers.\u201d Though, adds Silano: \u201cI looked at them, under the covers \u2013 and every one of them was a copy of The Shining<\/em>!\u201d<\/p>\n

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DIT Gabe Kolodny, whom Khondji calls his “DIA – Digital Imaging Artist,”\u00a0says the DP wanted a base look \u201cfrom which I would color-correct.\u201d So Kolodny and final colorist Damien Vandercruyssen created a LUT with golden highlights. “Very soft, with which I would not be boxed in by something too contrasty, Kolodny notes.\u201d<\/figcaption><\/figure>\n

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McConkey says there were \u201clayers upon layers of information\u201d<\/strong> provided by Dyas\u2019s art department, including manufactured writing awards and a turntable\/record collection based on info from a tour King had given Larra\u00edn of his writing studio. \u201cYou don\u2019t just bang those out,\u201d Silano says of shooting inserts for such items. \u201cYou may think it\u2019s just a shot of a turntable, but there was so much discussion. Pablo is a very sensitive artist and knows exactly where he wants the focus.\u201d<\/p>\n

Landon\u2019s desk, which sits in front of a large window, became a prime visual motif. \u201cPablo wanted to be able to see through the window to the world outside at the present moment,\u201d Khondji recalls, \u201cand, at the same time, have this intimate story happening.\u201d Dyas had a large backing made, and even placed trees there, all lit with a big LED push from outside, as well as 10K Molebeams. \u201cDarius is particular about the direction of light, softness, and quality,\u201d Velez notes. \u201cHe\u2019s very precise and sees differences I might overlook.\u201d Key Grip Guinness would typically place Magic Cloth in front of the LEDs for such shots, ARRI SkyPanels or DMG Lumi\u00e8res (SL1 Mixes or Mini Mixes), the latter his new favorite for nighttime scenes with the Sky Panels turned down to one percent with an ND6 over top.<\/p>\n

Vandercruyssen says one challenge was \u201cto stay true to Darius\u2019 desire for a very dark show, but also wanting to see the actors and not lose any of the action. And because of the amount of latitude I had in the neg, the exposure was perfect to darken some elements. It\u2019s one of the benefits of having HDR with the ALEXA 65 and being able to stretch those out. If it had been shot underlit, you wouldn\u2019t have had the same amount of saturation.\u201d<\/p>\n

During one such scene, Jimmy Dooley comes after Lisey using a pair of night-vision goggles in an otherwise pitch-black room. \u201cThose were shot with a cheap handheld camcorder with an infrared mode, bought on Amazon,\u201d describes 2nd AC Troy Sola. \u201cIt\u2019s actually from a company called \u2018Cleveland Paranormal Supply,\u2019 which lists it as a ghost-hunting camera!\u201d The same camera was used, along with iPhone video, to shoot Dooley\u2019s deranged home videos shot in his bachelor apartment where his obsession with Landon comes full force.<\/p>\n

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For the fantastical centerpiece, Boo’ya Moon, Dyas created an amphitheater-like set \u00a0surrounded by green screen, that was, as Key Grip Rich Guinness recounts, “too\u00a0hazardous for Jim [McConkey] to use his Steadicam. The solution was to use three cranes, with the 75-foot Techno being such a beast [Larra\u00edn] dubbed it ‘Medea,’ which we labeled on the side of the crane.\u201d \/Photo by Peter Kramer<\/figcaption><\/figure>\n

The main visual treat of Lisey\u2019s Story <\/em>is the fantastical<\/strong> Boo\u2019ya Moon, accessed by the characters through the Fairy Forest. Both were enormous sets requiring a complex workflow methodology and creativity from the camera and grip teams. Though the script simply describes the Boo\u2019ya Moon as \u201cbenches\u201d on which the catatonics sit, Dyas worked closely with Larra\u00edn \u201cto figure out how best to interpret Stephen King\u2019s vision,\u201d he notes. The designer came up with an amphitheater-like set, rooted in both European\/Roman and South American cultures, facing a large pool where Landon comes to be healed. The pool is semicircular, with the rows of seating looking outwards, facing one wall of the stage, the entire set surrounded by green screen for VFX additions of the ocean and other scenery.<\/p>\n

Finding a way to film in the unusual set took some thinking. \u201cI scratched my head for a long time and continued to read the script and look at Guy\u2019s designs,\u201d describes Guinness. \u201cThe set was impossible to walk over, severely limiting opportunities for Jim to use his Steadicam. It was just too hazardous.\u201d<\/p>\n

The solution was three cranes \u2013 75- and 50-foot Technocranes and a 60-foot MovieBird, with Libra heads, all supplied by Monster Remotes. \u201cWe were the first job in New York to get the 75-foot Technocrane, which came straight from Czechoslovakia,\u201d Guinness recounts of the rig, a beast so large Larra\u00edn dubbed it \u201cMedea,\u201d which Guinness says \u201cis still labeled on the side of the crane.\u201d<\/p>\n

The key grip worked closely with Dyas to leave space for the cranes\u2019 bases \u2013 the 75-footer placed outside the far edge of the pool, allowing it to reach across nearly anywhere on the set. The 50- and 60-foot cranes were placed on the right and left sides, respectively, on 30-by-30-foot rolling platforms, built by Key Rigging Grip Bill Kerwick, which helped to capture more thoughtful moments from the seated actors. \u201cUsually when you have a 50-foot crane,\u201d McConkey reflects, \u201cyou know when you\u2019re going to hit the end of its reach. With the 75-footer, I could reach across the water, and it never seemed to end. Anything you wanted to do, that crane could reach,\u201d including a spectacular move that begins on a closeup of Amanda\u2019s face and swings back to reveal the entire Boo\u2019ya Moon world, all in focus.<\/p>\n

The camera and grip teams, including dolly grip Joe Belschner, \u201cpickle\u201d operator Michael Buck and Libra head technician Lance Mayer (the latter two from Monster), were, McConkey states, \u201cphenomenal. Joe has such a cinematic understanding of everything. He knows what I\u2019m doing, and I know what he\u2019ll do. Between me, him, and Bucky, I still can\u2019t believe the stuff we did on cranes.\u201d<\/p>\n

Velez built a 60-by-60-foot softbox, with 40-by-60-foot frames on either side enclosing SkyPanels covered with Magic Cloth to light the massive Boo\u2019ya Moon set. \u201cIt\u2019s essentially a wall of light from above,\u201d Velez states. Molebeams and 24K Fresnels with golden amber gels provided highlights as well as the beautiful flowing waterfall, itself made orange by painting its base in orange with metallic highlights.<\/p>\n

Khondji referenced one of his favorite illustrators, Maxfield Parrish circa 1920s, to create a look for Boo\u2019ya Moon that was rich in blues and gold highlights. \u201cI love putting blue, which Gabe helped me with a lot, and putting gold in the top of the highlight,\u201d he shares. \u201cIt gave this world a beautiful \u2013 yet uncomfortable \u2013 feel.\u201d<\/p>\n

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The massive “Fairy Forest” \u00a0(adjoining Boo’ya Moon in the story) featured orange highlights from an ever-present moon \u2013 \u00a0two practical elements built by Guinness in 12- and 6-foot frames and covered in a printed skin. The larger moon could travel to any point via chain motors, while the smaller was atop a scissor lift, ensuring, as Khondji notes,”we\u00a0always see a hint<\/em> of the moon coming through the trees.\u201d<\/figcaption><\/figure>\n

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While Boo\u2019ya Moon was built in Steiner\u2019s large Stage 3 <\/strong>\u2013 and shut down on March 13 until August, when production resumed \u2013 the Fairy Forest required an even bigger home. That came in the form of the nearby Agger Fish Warehouse, also in the Brooklyn Navy Yard, a suggestion of Velez\u2019s. \u201cIt\u2019s the only place I ever shot in New York that had 60-foot ceilings,\u201d Velez says. Built upon shipping containers and winding from its \u201cSweetheart Hill\u201d at one end to the other, ostensibly adjoining Boo\u2019ya Moon, it required a map made by Dyas to help Larra\u00edn and Khondji plan story moves, which included interactions with The Long Boy.<\/p>\n

Velez ordered 350 SkyPanels for Fairy Forest from Insight Equipment. Its color, Khondji notes, was a \u201cvery deep blue \u2013 different tones of blue, between blue magenta and blue cyan,\u201d he explains, still with orange highlights.<\/p>\n

The source of the orange highlights in both sets is the ever-present moon \u2013 in reality, two practical elements built by Guinness in 12- and 6-foot frames and covered in a printed skin, each lit with a dozen Astera tubes. The larger moon could travel to any point on the set via chain motors, while the smaller one was atop a scissor lift, allowing either to be visible through the trees in the forest or casting a practical reflection in the Boo\u2019ya Moon pool or offering a slight highlight on actors. Khondji says, \u201cWe always see a hint<\/em> of the moon coming through the trees.\u201d<\/p>\n

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For the \u00a0“Yum Yum Tree,” Gaffer Jason Velez constructed elevated circular truss rings, and backlit the branches with 10K Fresnels. Using the\u00a050-foot Techno \u2013 to avoid tricky Steadicam moves over the many roots \u2013 McConkey says “they were tight moves for [dolly grip] Joe [Belschner] and [“pickle\u201d operator] Bucky [Michael Buck], but we accomplished them beautifully.” \/ Photos by Peter Kramer<\/figcaption><\/figure>\n

One other fantastical set is the Yum Yum Tree,<\/strong> encountered in flashbacks to the couple\u2019s honeymoon \u2013 an ice-covered willow tree, under which they sit as Landon reveals his painful childhood. A practical tree was built at the location, across a lake, but a set was built on the Capsys stage, made of huge rings to allow the wax-flocked branch material to rotate. Velez constructed elevated truss rings that circled the tree, and backlit the branches with 10K Fresnels, with \u00bd blue gels and Chimeras to focus. Guinness notes that \u201cit was tricky to get the lights out of frame, 360 degrees above the set.\u201d<\/p>\n

The majority of the footage there was shot by McConkey on the 50-foot Techno, avoiding what would have been difficult moves by Steadicam over the trees\u2019 many roots. \u201cThose were tight moves for Joe and Bucky, but we accomplished them beautifully,\u201d McConkey recalls, including a wonderful sweep from the two characters, back out and over the tree itself. Bayr\u00f3n\u00a0says she found herself in waders for the coverage. \u201cOne of the rare instances of straight coverage Jim and I did,\u201d she notes. The two more typically found themselves \u201ccolluding,\u201d as McConkey calls it, with\u00a0Bayr\u00f3n\u00a0crafting \u201cmini-masters\u201d instead of common coverage. \u201cIt\u2019s essentially a single-camera show,\u201d McConkey adds, \u201cas that\u2019s what Pablo likes. So, if there wasn\u2019t a good shot for the B-camera, the second camera dropped, and we\u2019d move on.\u201d<\/p>\n

According to all involved, Lisey\u2019s Story <\/em>is a show that reveals character out of darkness. \u201cFor me, it\u2019s about the presence of Lisey, who, little by little, comes out and becomes a hero of her own story,\u201d Khondji concludes. McConkey calls the ever-present darkness \u201ca veil of reality. What you don\u2019t see too clearly can be hidden, and what you do see, you can believe,\u201d he shares. \u201cBut you don\u2019t have to know what you don\u2019t know.\u201d<\/p>\n

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The filmmakers of\u00a0Lisey’s Story <\/em>all\u00a0say it’s a show where character is revealed from darkness. And McConkey calls that ever-present darkness \u201ca veil of reality. What you don\u2019t see too clearly can be hidden, and what you do see, you can believe,\u201d the operator concludes. \/ Photo by Peter Kramer.<\/figcaption><\/figure>\n

 <\/p>\n

Lisey’s Story<\/em> – Local 600 Camera Team<\/strong><\/p>\n

Director of Photography: Darius Khondji, ASC, AFC<\/p>\n

A-Camera Operator: Jim McConkey, SOC<\/p>\n

A-Camera 1st<\/sup> ACs: Chris Silano, Eric Swanek<\/p>\n

A-Camera 2nd<\/sup> ACs: Troy Sola, Tyler Swanek<\/p>\n

B-Camera Operators: Wylda Bayr\u00f3n, Zeus Morand, Jeremy Weishaar<\/p>\n

B-Camera 1st<\/sup> AC: Olga Abramson<\/p>\n

B-Camera 2nd<\/sup> AC: Eddie Goldblatt<\/p>\n

Loader: Peter Perlman<\/p>\n

DIT: Gabe Kolodny<\/p>\n

Underwater Director of Photography: Dave Knox<\/p>\n

Hydroflex Underwater Tech: Matt Degreff<\/p>\n

Libra Head Tech: Lance Mayer<\/p>\n

Still Photographer: Peter Kramer<\/p>\n

Publicist: Erin Felentzer<\/p>\n

 <\/p>\n

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

Darius Khondji, ASC, AFC, helps bring Stephen King’s dark romance novel to the small screen in a new eight-part limited series. by Matt Hurwitz \/ Photos by Peter Kramer \/ Framegrabs courtesy of Apple TV+   Lisey\u2019s Story, the new series on Apple TV + adapted by Stephen King from his 2006 award-winning novel (according to King, his favorite), revels in two elements \u2013 darkness and water \u2013 both of which are put to stunning thematic use by director Pablo […]<\/p>\n","protected":false},"author":2,"featured_media":11362,"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":[2],"tags":[],"class_list":["post-11345","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nMoonlight Becomes Her - 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