{"id":11593,"date":"2021-11-16T09:25:49","date_gmt":"2021-11-16T17:25:49","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=11593"},"modified":"2021-11-16T09:25:49","modified_gmt":"2021-11-16T17:25:49","slug":"pill-happy","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/pill-happy\/","title":{"rendered":"Pill Happy"},"content":{"rendered":"

Hulu’s new series, Dopesick, <\/em>reteams Checco Varese, ASC, and Director Patricia Riggen for a searing look inside America’s opioid crisis.\u00a0<\/span><\/span><\/p>\n

by Margot Carmichael Lester \/ Photos by Gene Page & Anthony Platt \/ Hulu<\/span><\/span><\/p>\n

 <\/p>\n

\n

Some projects you do for reasons beyond the paycheck<\/strong>. Some projects you do because you must\u00a0<\/em>do\u00a0them. Because the story is too important not to tell. Because the story is so vast and far-reaching that it begs for context so that people can focus on how we got here and realize the injustice and avoidability of it all. Some projects force you to take them to bear witness.<\/p>\n

Hulu\u2019s Dopesick<\/em> was one of those projects for the creative team of Director of Photography Checco Varese, ASC, and Director Patricia Riggen, whose previous socially themed project, The 33<\/em>, on the Chilean mine disaster, was an ICG Magazine cover story. [ICG Magazine November 2015] <\/a><\/p>\n

\u201cObviously we [make films and TV] so we can send our kids to college,” Peruvian-born Varese explains, “but this one was truly a work of love and a story that had to be told. It\u2019s important to shoot projects that are challenging to the common knowledge of humanity. That\u2019s what we did with Dopesick<\/em>.\u201d<\/p>\n

Hulu\u2019s new limited series, which chronicles the rise of the opioid epidemic via the over-prescription of OxyContin (oxycodone hydrochloride), contextualizes the resulting tragedy as a unique product of American greed and capitalism. It was inspired by Beth Macy\u2019s The New York Times<\/em> bestselling book Dopesick: Dealers, Doctors and the Drug Company that Addicted America<\/em>. Macy is an executive producer along with Danny Strong, Barry Levinson, and series star Michael Keaton, among others.<\/p>\n

 <\/p>\n

\"\"
Director of Photography Checco Varese, ASC (above) says Dopseick<\/em> touched the entire production team. \u201cEveryone had someone who has been affected by this crisis \u2013 a father, a mother, a cousin, a bride. Hundreds of people just in our little molecule of humanity.” Photo by Gene Page \/ Hulu<\/figcaption><\/figure>\n

 <\/p>\n

The show was a reunion for Strong, Varese, and Riggen, who<\/strong> had worked together on the pilot of Proven Innocent <\/em>in 2019. Riggen was recruited to Dopesick <\/em>to direct two episodes, and when Levinson was looking for a DP, she mentioned that (her husband) Varese was available. Varese\u2019s pitch for the visual approach skewed toward a realistic feel \u2013 derived from his wealth of experience in nonfiction production. (Both Varese and A-Camera 1st<\/sup> AC Mark Strasburg come from news and documentary backgrounds.) The idea was to place attention on people who weren\u2019t necessarily talking but were conveying emotions that tell the story more fully. Varese says he envisioned the story as an intersecting \u201cVenn diagram.\u201d One circle is the victims, another the Sackler family and their co-conspirators, and the third the civil servants \u2013 FBI, DEA, DOJ \u2013 trying to figure out it all out<\/p>\n

\u201cThe effect was like three separate movies,\u201d Varese explains. \u201cThe first circle I wanted to look like the beginning of The Deer Hunter <\/em>[shot by Oscar-nominee Vilmos Zsigmond, ASC] \u2013 very realistic, very organic. Small towns with mines, steel mills, and people with pale skin because they are working in the dark. The environment is blue and when there is sun, it\u2019s white \u2013 not romantic or warm.\u201d Handhelds and a constantly \u201ccurious\u201d camera brought the filmmakers physically close to the characters and helped to create more movement and tension in the frame.<\/p>\n

The second circle was all about saturation, opulence, and glimmer. To deliver a clean, solid look for the Sackler family and the Perdue Pharma portion, Varese went to studio mode and Steadicam.\u00a0The third group, the civil servants, was \u201ca circle of efficiency,\u201d styled after Michael Mann\u2019s The Insider <\/em>(1999), shot by Dante Spinotti, ASC, AIC.<\/em> The color palette was stark, clean, and neutral. For the scenes in the court and with the legal team, they mixed the two styles based on the level of energy the camera needed to provide.<\/p>\n

Levinson like the idea and Varese was brought on board to shoot the first two episodes with Levinson at the helm and lens the remaining episodes with Michael Questa, Riggen, and (showrunner\/creator\/writer) Danny Strong.<\/p>\n

\u201cEarly on, Barry said a very interesting thing about wanting OxyContin to be the monster that comes to a town,\u201d Varese recalls. That opened the door to adding grace notes from horror films, a genre the DP knows well having lensed THEM <\/em>[ICG Magazine May 2020]<\/a> and IT Chapter 2.<\/em> \u201cThe enemy\u2019s at the gate and how do we convey that?\u201d Varese continues. \u201cLike an establishing shot of a home with a happy family inside, not knowing the monster is coming. Whether the monster is Godzilla or the monster is OxyContin you treat it like the enemy, and you push the camera in gently as if something is approaching, with a dramatic cue of music underneath it.\u201d<\/p>\n

 <\/p>\n

\"\"
Varese broke the series up into different visual themes, with the civil servants (Episode 101, above, as federal prosecutors open a case into OxyContin) styled after Michael Mann\u2019s The Insider <\/i>\u00a0(shot by Dante Spinotti, ASC, AIC).\u00a0<\/i>“The color palette was stark, clean, and neutral,” the DP describes \/ Photo by Antony Platt\/Hulu<\/figcaption><\/figure>\n

 <\/p>\n

Dopesick<\/em> was shot using Sony VENICE cameras and Zeiss Supreme Prime lenses<\/strong> from Keslow Camera. Strasburg says they went with the Supremes \u201cas we would be shooting a lot of handheld and they cover 6K full-frame, and because of the amount of focus fall-off they have due to the large format capabilities and the clean and crisp, yet enveloping quality. We knew from the style of the show that there would be a lot of fast panning between actors and the Supremes have a more forgiving depth of field fall-off than other full-frame lenses. This was a consideration as it meant it would be less jarring for the viewer when the focus is racking quickly between actors.\u201d<\/p>\n

The proprietary Zeiss T* lens coating, the dual EI sensitivity, the full spectrum internal NDs, and the color matching quality across all Sony cameras and Zeiss lenses were a big plus on the set, and later during the DI, allowing everyone to work in the same native Sony Color Space. As DIT Daniele Colombera [ICG Magazine October 2020]<\/a> explains: \u201cThis kept the color pipeline streamlined and accurate. As per usual, I graded the image live on set using calibrated SONY OLED displays so I could have the immediate feedback of the DP and the Director. Among our goals, was to always deliver a well-exposed digital negative so that we could ultimately render a great 4K HDR version.\u201d<\/p>\n

The tiny Sony RX0 Mark II 4K action camera and its 24mm equivalent Tessar was used for a car crash sequence, and the Sony FX-3 for car interiors and night-time sequences.<\/p>\n

\u201cWe were able to capture a hyper-realistic feeling that made those visuals even more striking,\u201d Colombera adds. \u201cChecco used these smaller cameras for very specific moments in the story, and I think that was a clever approach that paid back.\u201d<\/p>\n

Like in a scene from Episode 103 where a young man breaks into a small-town pharmacy to steal OxyContin. \u201cWe decided to go handheld mode,\u201d recounts A-Camera\/Steadicam Operator Joseph Arena, SOC. \u201cI chased him through the window he had just broken and ran through. As he jumped over the counter, I passed off the camera to [B-camera operator] Joey Cicio, who was hiding under the counter to continue the rest of the shot.\u201d<\/p>\n

 <\/p>\n

\"\"
Scenes of OxyContin victims, like Kaitlyn Dever’s injured miner (Episode 101 above), were modeled after The Deer Hunter (<\/i>shot by Vilmos Zsigmond, ASC). “Very realistic and organic. Small towns with mines, steel mills, and people with pale skin because they are working in the dark,” Varese shares. Photo by Antony Platt\/Hulu<\/figcaption><\/figure>\n

 <\/p>\n

Dopesick <\/em>features some 100 locations across the state of Virginia,<\/strong> often requiring several full company moves per day \u2013 all executed under COVID requirements. \u201cThe locations, coupled with bringing in more crew for multi-camera days, required a fair bit of planning,\u201d Strasburg notes. Advanced testing and travel concerns made it impossible to pick up day players at the last minute. COVID-related supply chain delays also impacted equipment availability.\u00a0\u201cThe logistics of it was hell,\u201d Varese deadpans.<\/p>\n

The crew had a few positive cases, but all outside the A zone, so there were no shutdowns. And while everyone obediently donned the personal protective equipment that has become standard under COVID-19 safety protocols, it did create problems. The masks and shields often fogged up in the cold winter weather. Riggen says the protective gear hindered communication with the actors.<\/p>\n

\u201cThe relationship with an actor and a director has to be whispered,\u201d she shares. \u201cIt’s something very delicate on a very deep level. It was almost impossible to talk with an actor when he has a shield and a mask on; I have a shield and a mask and we\u2019re trying to talk over the blast of noisy air filtration systems, which were recirculating air all the time. They\u2019d only turn it off right before I\u2019d say \u2018action.\u2019\u201d<\/p>\n

 <\/p>\n

\"\"
Director Barry Levinson told Varese he wanted “OxyContin to be the monster that comes to a town.” That opened the door to adding grace notes from horror films, a genre the DP knows well having lensed THEM <\/em>[ICG Magazine May 2020]<\/a> and IT Chapter 2. <\/em>Above: Kaitlyn Dever from\u00a0Episode 102. \/ Photo by Antony Platt\/Hulu<\/figcaption><\/figure>\n

COVID distancing and capacity requirements prompted the crew to<\/strong> come up with efficient use of a remote head on a dolly. Using a Preston Light Ranger, they had the dolly grip in the room, with Strasburg in front of a remote monitor so there was one less person in the room.\u00a0\u201cWe used it in places that you wouldn’t think of, like a scene in the office with FBI agents portrayed by John Hoogenakker and Peter Sarsgaard,\u201d Varese recalls. \u201cWe did some very sophisticated camera moves \u2013 some of them are in service, most of them were part of the shot. It\u2019s a technique that\u2019s now commonplace for me. I\u2019ll use it forever.\u201d<\/p>\n

The most challenging location was an actual mine, featured in the first few episodes.\u00a0\u201cIt snowed a few days before we were there, so the outside, which was just a large muddy area, had become a bit of quagmire by the time the crew and vehicles were done loading in,\u201d Strasburg remembers.<\/p>\n

Because of the sensitive nature of the space, no vehicles were allowed inside. Everything for the sequence, which was shot with handhelds and a camera on a Dana Dolly, had to be hand-carried. \u201cWe also had to stay away from the walls as there was always the potential for rocks to come down on us,\u201d Strasburg adds.<\/p>\n

It wasn’t going to be possible to stage an explosion in the mine, so a set was constructed on a soundstage with low ceilings. \u201cWe had a warehouse space that was more than large enough, but with some very concerning rigging weight limitations,\u201d recalls Key Grip Rick Stribling.\u00a0\u201cMost of the building\u2019s structural strength was reserved for snow weight \u2013 and during the winter months, that could be considerable.\u00a0It led to a lot of different rigging solutions. Checco had us use truss towers to place substantial lights up high, and keep them mobile and variable in height.\u201d<\/p>\n

 <\/p>\n

\"\"
Dopesick’s<\/em>\u00a0third “visual circle” centered on the Sackler family\/Perdue Pharma, and was keyed toward saturation and opulence, with Varese switching to studio mode and Steadicam. Above: Michael Stuhlbarg as Perdue Pharma Chairman\u00a0Richard Sackler in full panic mode. Photo by Gene Page\/Hulu<\/figcaption><\/figure>\n

 <\/p>\n

One of the most powerful and challenging sequences<\/strong> occurs in Episode 4, when Kaitlyn Dever\u2019s character, Betsy, who was injured in a mine blast and became addicted to OxyContin, fights with her parents, played by Mare Winningham and Ray McKinnon. Betsy has been in rehab for her addiction but someone is selling her pills. Her parents figure this out and confront her. A struggle ensues as her dad finds the pills and throws them down the sink.<\/p>\n

\u201cI thought I\u2019d shoot slo-mo with the pills falling down the sink,\u201d Varese recounts. \u201cBut Patricia very wisely said, \u2018No, this is just one handheld shot with the camera following their fight as if we were there.\u2019<\/p>\n

That choice gave the actors freedom to react to each other and move organically without worrying about hitting specific marks \u2013 and it enabled the operators to stay close and follow the action. \u201cWe shot it in a continuous take so Kaitlyn would only need to do it a few times,\u201d Riggen explains. \u201cWe shot it with two handheld cameras and the result is so real, so heartbreaking.\u201d<\/p>\n

Adds Strasburg: \u201cJoseph\u2019s smooth handheld operating really helped. Too often handheld can be jarring for the viewer and take them out of the moment. This scene did the complete opposite and almost makes you one of the family members in the room.\u201d<\/p>\n

 <\/p>\n

\"\"
For a key scene from Episode 105 (where Michael Keaton as Dr. Finnix performs surgery on opioids) a shaky handheld approach was meant to reflect the tension. But after the first rehearsal, Varese put the camera on a sandbag and let it run, with a just few push-ins on Keaton\u2019s face. \/ Photo by Gene Page\/Hulu<\/figcaption><\/figure>\n

 <\/p>\n

Another pivotal sequence shows the downfall of Michael Keaton\u2019s character,<\/strong> Dr. Sam Finnix, Betsy\u2019s small-town doctor, who is initially skeptical about prescribing OxyContin only to become addicted to it himself. In the scene, Finnix is doing minor surgery on a patient while high and ends up cutting an artery. \u201cIt was very challenging because of the delicate balance between the props and the prosthetics and the blood,\u201d Varese recalls. \u201cMichael played it subdued and internal. Initially, the camera wanted to be crazy and shaking to reflect the tension. But after the first rehearsal, we changed our minds.\u201d Varese switched from handheld to putting the camera on a sandbag and letting it run, with a few push-ins on Keaton\u2019s face and little else. This enabled them to play it very restrained and resist \u201ca plethora of cuts.\u201d<\/p>\n

Dopesick\u2019s <\/em>subject matter united the crew beyond the normal camaraderie that arises from making your days under difficult conditions. \u201cIf you think about the fact that more people have died from opioids than from COVID, that gives you an idea of the magnitude of this tragedy \u2013 and made it essential for us to be a part of telling the story,\u201d Riggen concludes. “It was like a mission for us and the whole crew and cast.”<\/p>\n

Varese says the project touched nearly every single member of the team. \u201cEveryone in the production had someone who was affected by this \u2013 a father, a mother, a cousin, a bride, a former boyfriend, a college friend. Just in our little molecule of humanity, we had several hundreds of people touched by this crisis,\u201d he marvels. \u201cThat\u2019s\u2026crazy!\u201d<\/p>\n

 <\/p>\n

\"\"
Director Patricia Riggen (above from Episode 105) says that\u00a0\u201cif you think about the fact that more people have died from opioids than from COVID, that gives you an idea of the magnitude of this tragedy.” Photo by Gene Page\/Hulu<\/figcaption><\/figure>\n

 <\/p>\n

\"\"
Photo by Gene Page\/Hulu<\/figcaption><\/figure>\n

 <\/p>\n

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

Director of Photography: Checco Varese, ASC<\/p>\n

A-Camera\/Steadicam Operator: Joseph Arena, SOC<\/p>\n

A-Camera 1st AC\/ Steadicam: Mark Strasburg<\/p>\n

A-Camera 2nd AC: Eric Amundsen<\/p>\n

B-Camera Operator: Joey Cicio, Josh Turner (final episode)<\/p>\n

B-Camera 1st ACs: Ezra Bassin-Hill, Mark Bain<\/p>\n

B-Camera 2nd AC: Kyra Kilfeather<\/p>\n

Loader: Ben Lemons<\/p>\n

Utility: Alexandria Jones<\/p>\n

DIT: Daniele Colombera<\/p>\n

Unit Still Photographers: Gene Page, Anthony Platt<\/p>\n","protected":false},"excerpt":{"rendered":"

Hulu’s new series, Dopesick, reteams Checco Varese, ASC, and Director Patricia Riggen for a searing look inside America’s opioid crisis.\u00a0 by Margot Carmichael Lester \/ Photos by Gene Page & Anthony Platt \/ Hulu   Some projects you do for reasons beyond the paycheck. Some projects you do because you must\u00a0do\u00a0them. Because the story is too important not to tell. Because the story is so vast and far-reaching that it begs for context so that people can focus on how […]<\/p>\n","protected":false},"author":2,"featured_media":11615,"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":[2,10],"tags":[],"class_list":["post-11593","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-web-exclusive"],"acf":[],"yoast_head":"\nPill Happy - ICG Magazine<\/title>\n<meta name=\"description\" content=\"Hulu's new series, Dopesick, reteams Checco Varese, ASC, and Director Patricia Riggen for a searing look inside America's opioid crisis.\u00a0\" \/>\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\/pill-happy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pill Happy - 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