{"id":11658,"date":"2021-12-22T17:41:19","date_gmt":"2021-12-23T01:41:19","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=11658"},"modified":"2021-12-23T17:52:37","modified_gmt":"2021-12-24T01:52:37","slug":"theskyisfalling","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/theskyisfalling\/","title":{"rendered":"#TheSkyisFalling"},"content":{"rendered":"

Oscar-winner Linus Sandgren, ASC, FSF, tries to outrun the apocalypse in Adam McKay’s latest satirical epic,\u00a0Don’t Look Up<\/em>\u00a0<\/span><\/span><\/p>\n

by Pauline Rogers \/ Photos by Niko Tavernise \/ Netflix<\/span><\/span><\/p>\n

 <\/p>\n

\n

“It\u2019s almost like an old Marx Brothers movie or The Three Stooges,<\/strong> where there are mice loose at the opera premiere, but they\u2019ve got to cover it up,\u201d says Writer\/Director Adam McKay about his latest absurdist movie, Don\u2019t Look Up<\/em>. The Netflix-produced comedy follows a pair of low-level scientists, Randell Mindy (Leonardo DiCaprio) and Dr. Kate Dibiasky (Jennifer Lawrence), who have discovered a giant comet that they calculate will collide with Earth in six months and destroy life as we know it. The problem is that no one will believe them. So, they embark on a worldwide press tour to bring attention to the impending disaster, with both hilarious and tragic results.<\/p>\n

According to McKay, he\u2019s been \u201cobsessed\u201d with climate change for the past few years, and \u201clike it or not,\u201c it may be the biggest story on planet Earth. But how do you make a movie that people will see and also learn from? Would it be like an M. Night Shyamalan film with a twist? A Poseidon Adventure<\/em>? When friend David Sirota (who shares story credit) sent McKay a tweet that said, \u201cthe comet is coming, and no one gives a s\u2026.\u201d the director says he had his story. \u201cWould a broken society understand the magnitude of the impending crisis? It was a simple way to draw humanity in by making it funny,\u201d he relates.<\/p>\n

Helping McKay to have his audience digest the juxtaposition of \u201cthe terror of the reality\u201d with \u201cthe absurd comedy\u201d of misinformation, is a stellar cast of actors who share the filmmaker\u2019s genuine fear of the climate crisis and disdain for humanity’s addiction to misinformation. There\u2019s Meryl Streep (the President), Jonah Hill (her son and chief of staff), Rob Morgan, Cate Blanchett and Tyler Perry (as vacuous talk show hosts), Timoth\u00e9e Chalamet, Chris Evans, Mark Rylance (a greedy tech billionaire), Melanie Lynsky, Himesh Patel, and an incredible musical duo with Ariana Grande and Kid Cudi.<\/p>\n

With a powerhouse cast set, McKay was ready to roll before a real-life global crisis called COVID ground life to a halt. With the possibility that his film\u2019s underlying premise was actually happening, McKay put the script away. When he picked it up again, months later, his thoughts had shifted. Although climate change is still the lurking human disaster, the story became more about how \u201cour lines of communication have been shattered and manipulated for profit.\u201d McKay made his characters more overtly absurd. President Orlean (Streep) became a \u201cstew\u201d of recent presidents this country has elected. The savvy leader is a mixture of Donald Trump\u2019s narcissism and self-serving shortsightedness, Bill Clinton\u2019s double-talk, George W. Bush\u2019s lack of qualifications, a bit of Obama\u2019s celebrity, and a lot of Ronald Reagan\u2019s empty suit.<\/p>\n

McKay says in talking with Streep the character became a kind of Suze Orman \u2013 not dumb, but a shade hack who\u2019s practiced at human manipulation. He also gave billionaire Peter Isherwell (Mark Rylance) another layer, becoming a metaphor for Big Tech \u2013\u00a0a mask of benevolence covering avaricious ruthlessness. In interviews, McKay talks about what these kinds of characters bring to our world today. Their sound bites, half-truths, and blatant lies are everywhere \u2013 Twitter-fed through social media. And if this aspect of daily existence, circa 2021, can reach even \u201ceight percent\u201d of his audience \u2013 and entertain them at the same time \u2013 his absurdist \u201cplay\u201d might be worth it, he\u2019s said.<\/p>\n

 <\/p>\n

\"\"
Writer\/Director Adam McKay (above right with Leonardo DiCaprio) says a real-life global crisis like COVID reset the priorities of his story. \u201cWould a broken society understand the magnitude of the impending crisis? It was a simple way to draw humanity in by making it funny,” he reflets.<\/figcaption><\/figure>\n

 <\/p>\n

To visualize this delicate balance, McKay turned to<\/strong> Oscar-winner Linus Sandgren, ASC, FSF (No Time to Die, First Man, La La Land<\/em>), who says his creative juices began firing on all cylinders. \u201cThe script was spot on,\u201d Sandgren recounts, the note of excitement still in his voice. \u201cIt is a suspenseful story of a ticking bomb that gets closer and closer, but a lot of humor surrounds its impact. Adam found a way to show how people all over the world lack interest in listening to the \u2018science\u2019 preferring to focus on revenue and popularity.\u201d<\/p>\n

McKay wanted the film\u2019s \u201cticking bomb\u201d to look and feel different from the unreality of social media. \u201cWe agreed that 35mm would be the \u2018base\u2019 truth, how the world \u2018really\u2019 is,\u201d Sandgren continues. \u201cThen we\u2019d create disparate looks to capture the feeling of varied media that we encounter every day.\u201d The team opted for a PL mount that would allow them to change anamorphic to spherical on the same 35mm camera, Arricam LT\u2019s. Sandgren notes that \u201cwe tested anamorphic lenses, and found the new Atlas Orion anamorphic lenses [made in Burbank] performed extremely well. They are sharp to the edges of the frame, even on the wider lenses. They\u2019ve got beautiful flares and bokeh, and a really good close focus for anamorphic lenses.\u201d He adds that the Atlas lenses were supplemented with Fujinon 25mm to 300mm zooms for long lens\/compressed looks.<\/p>\n

Sandgren and McKay also decided on some \u201cout-of-the-box\u201d tools in the form of \u201ccell phone cameras, security cameras, flawed real cameras, to try and approximate that fly\u2019s eyes view that is the modern world. It was fun as hell,\u201d McKay laughs. \u201cWe also discussed toggling between classical framing and occasional handheld to try to capture the disorientation of the era we live in. Linus was masterful at incorporating both styles.\u201d<\/p>\n

\u201cThe idea was to keep the visuals serious but let the observer see what they see as if we were shooting a doomsday thriller like Parallax View<\/em> or even All the President\u2019s Men<\/em> or Network<\/em>,\u201d Sandgren adds. \u201cIn a way, the \u2018other\u2019 visuals are being captured as if we are commenting on how the world reacts to what is going on with our characters.\u201d\u00a0In other words \u2013 create a controlled free-for-all.<\/p>\n

 <\/p>\n

\"\"
Sandgren (above, middle, with Meryl Streep, L, and 1st AC Jorge Sanchez, far right) toggled between classical framing and occasional handheld. \u201cWe used an Aaton Penelope with a 40mm Kowa Cine Prominar Macro lens for\u00a0the most disturbingly intimate moments,\u201d \u00a0Sandgren shares. “This way, I could be just inches away from the actor’s eyes.”<\/figcaption><\/figure>\n

 <\/p>\n

\u201cFor the most disturbingly intimate moments,\u201d Sandgren continues, \u201cwe used a<\/strong> handheld Aaton Penelope with a 40mm Kowa Cine Prominar Macro lens. This way, I could be just inches away from the actor’s eyes. In another example, we used a VistaVision 35mm 8-perf camera with swing shift optics for some establishing shots to mimic a sense of macro photography. We also used cell phone footage captured by people all over the world. TV cameras for reportage footage were rephotographed on monitors. For broadcast, we used 4K TV cameras in the TV studios and lit that environment in an enhanced superficial bright, and colorful manner. Then we had [B-Camera Operator] Davon Slininger steal inserts of all kinds of absurd props or other details worth photographing for Hank to have candy for the cut.\u201d<\/p>\n

The myriad forms of capture may sound overwhelming but knowing McKay\u2019s proven ability to mesh comedy and drama, often within the same shot, everything was chosen for a reason. Scenes included The White House, a Battleship, a rocket launch, and a major concert.<\/p>\n

McKay and Sandgren had their take on the iconic White House, where the President meets with the two scientists and eventually realizes promoting this would-be disaster could have political benefits. \u201cThe stage had several challenges, low ceilings and pillars, and space,\u201d says Chief Lighting Technician Frans Weterrings. \u201cLinus wanted it to feel real and organic. We took some liberties by adding in cove lighting in The West Wing with Astera and Quasar tubes to add ambiance or direction quickly. Outside was an array of ARRI s60s for soft top light and 360s with intensifiers as soft direct light. Mole 24K Fresnels gave us the hard sunlight. To enable us to move fast, we placed smaller LiteGear lite tile softboxes in most rooms that we could lower and articulate to use as key lights. The backing was super close and was lit both front and back by CromaQ color force.\u201d<\/p>\n

Although the White House was fairly straightforward camera-wise, the scenes still had that unique McKay\/Sandgren twist. \u201cWe wanted the waiting to feel dreadfully long, so we shot that part static,\u201d Sandgren recounts. \u201cWhen they got to meet President Orlean, again the language was kind of static, to show the non-action from the President. We had some use of the Penelope Macro camera to describe the stress for our protagonists. The second time they were in the Oval Office, the President decided to take action so now there is movement on the cameras; it\u2019s intercutting with the footage from the official presentation of the mission and was intended to feel like a suspenseful political thriller.\u201d<\/p>\n

Taking a page from All the President\u2019s Me<\/em>n, the team created a newsroom and a daily talk show. \u201cWe had lots of glass cubicles, and we shot through the glass,\u201d adds Sandgren. \u201cThe idea was that we were looking into a glass room and watching the discussions with daily business going on outside. Here we wanted to compress the shots to enhance the tension in the scenes, so we went wide with anamorphics, but the dialogue was all with spherical telephoto lenses.\u201d<\/p>\n

 <\/p>\n

\"\"
“The White House stage [set] had several challenges, including low ceilings and pillars, and space,\u201d describes Chief Lighting Technician Frans Weterrings. \u201cLinus wanted it to feel real and organic…so we took some liberties by adding in cove lighting in The West Wing with Astera and Quasar tubes to add ambiance or direction quickly.”<\/figcaption><\/figure>\n

The Daily Rip, hosted by Tyler Perry<\/strong> and Cate Blanchette,<\/strong> was also a fun exercise in visual satire. As with The White House, the setup was traditional; Sandgren and Weterrings worked with Production Designer Clayton Hartley to make sure they had integrated enough light into the stage design. \u201cWe had to have enough for shooting film,\u201d says Weterrings. \u201cCush\u2019s LEDs were used extensively, and a standard newsroom rig was put in place using ARRI s60s, ETC Source4 Luster2. The location had huge windows that we mostly covered up and left a band along the top to accent reverse shots while also adding ambiance. Then, as the sun fell, several ARRI MAX fixtures replaced the lost ambiance.”<\/p>\n

Sandgren describes Weterings as a \u201crock, helping me plan all these different sets and being very creative in how to design the light in the scenes to fit the story. The TV studio wasn\u2019t just the TV light, but also the shadows behind the scenes were equally important to consider. The Daily Rip represents the artificial media world, so we intended to make what \u2018they produce\u2019 look superficial. We photographed the show with TV cameras and bright, colorful settings on those cameras. At the same time, we also photographed the \u2018reality\u2019 behind the scenes with 35mm anamorphic film cameras in a more muted tone. It was important to differentiate between reality, which should feel authentic, and media which should feel superficial throughout the film. We also used the Penelope with the macro lens to portray the more stressful moments in the scene for the main characters.\u201d<\/p>\n

One of their biggest challenges was President Orlean\u2019s rally on a battleship. The sequence was shot on location outside the company\u2019s Boston base, in cold weather. \u201cWe didn\u2019t want Meryl Streep outside for long,\u201d recalls Weterrings. \u201cWe spent a lot of time pre-lighting and relaying photos to Linus to be as ready as possible for that night. Lighting all the battleship structures took a ton of cable and fixtures. Josh Dryfus, our rigging gaffer, tied into the ship\u2019s service to facilitate the power for the bow. Tim Boland worked with fixtures photometric to ensure coverage of the ship. We used moving fixtures from Highend Systems, Martin and Robe, to fill in the spots on the ship on shoot night.\u201d<\/p>\n

 <\/p>\n

\"\"
Sandgren says “The Daily Rip represents the artificial media world, so we intended to make what \u2018they produce\u2019 look superficial. We photographed the show with TV cameras and bright, colorful settings on those cameras. At the same time, we also photographed the \u2018reality\u2019 behind the scenes with 35mm anamorphic film cameras in a more muted tone.”<\/figcaption><\/figure>\n

 <\/p>\n

Many crew members point to the concert performance<\/strong> with Ariana Grande and Kid Cudi as a standout to create. Shot at Weymouth Hangar in Massachusetts, the sequence begins with Mindy and Dibiasky finishing their announcement, just as Riley (Ariana Grande) begins singing. She\u2019s wearing a stunning gown that becomes the visual spectacle of the concert.<\/p>\n

The song starts as a romance and builds to a \u2018we\u2019re all going to die\u2019 crescendo. \u201cLinus and Adam had a very specific look in mind,\u201d remembers Weterrings. \u201cThey wanted Ariana Grande to be in an infinite void at the beginning and for the piece to organically ramp up as Kid Cudi enters. It needed to feel warm and inviting, although still looking like a massive concert. Linus wanted video projection on Ariana at the beginning of the piece to accentuate the infinite, as if she was a supernova ready to create. Shooting during a pandemic made it harder to organize all the elements in a timely manner \u2013 integrating video, video projection, lighting, stunts, and music was a whirlwind.\u201d<\/p>\n

The sequence was shot on 35mm anamorphic, on cranes, and with Steadicam. Key Grip Frank Montesanto kept a 45-inch Scorpio with a matrix head through the production, which the team used every day. \u201cFrank was full of creative ideas for how to move the camera,\u201d says Sandgren.<\/p>\n

 <\/p>\n

\"\"
For concert performance with Ariana Grande and Kid Cudi, shot at Weymouth Hangar in Massachusetts, Weterrings says McKay and Sandgren wanted Ariana Grande “to be in an infinite void at the beginning and for the piece to organically ramp up as Kid Cudi enters. It needed to feel warm and inviting, although still looking like a massive concert.”<\/figcaption><\/figure>\n

 <\/p>\n

The sequence where Orlean sends off a rocket to<\/strong> \u201cdestroy\u201d the comet, was patterned after a classic Cape Canaveral launch, \u201cwith RVs and thousands of people barbecuing while 20-plus missiles are launched together with an old space shuttle,\u201d Sandgren smiles. \u201cWe found a location that resembled Cape Canaveral, and part of it was shot at Cape Canaveral. We definitely needed this to feel epic, so we used helicopter shots in Florida and sweeping crane shots amongst the crowd. It\u2019s intercut with the launch room, which also was shot in 35mm anamorphic.\u201d<\/p>\n

Ask Sandgren to choose his favorite sequence and he points to the \u201cLast Supper.\u201d \u201cIt was such a human scene, and it gives us a moment to reflect on all insanity we\u2019ve been through, as well as a chance to pay respect to the protagonists,\u201d he shares. \u201cWe have all these fantastic characters, and we decided to shoot them at 120 frames-per-second to create these fine portraits, which I think pays off well at this moment of the story. The lighting was partly inspired by the actual painting, Last Supper by DaVinci, as well as a socially realistic mundane dinner scene in a suburb. I think the scene should give hope to the good people in the world.\u201d<\/p>\n

Sandgren says he loves to employ various formats if the story calls for it. \u201cSince this is a worldwide event,\u201d he concludes, \u201cit was great for us to broaden the world geographically by using all kinds of cameras. This is a story that takes place in the real world as well as in the social media and conventional media worlds, and all of it had to be captured accordingly. It was an incredibly challenging film due to it being shot during the second peak of COVID-19. I want to thank my brilliant camera crew \u2013 B-Camera Operator Davon Slininger, A-Camera First AC Jorge Sanchez, and B-Camera First AC Trevor Loomis, in particular. They made the impossible look easy and creative.\u201d<\/p>\n

 <\/p>\n

\"\"
Sandgren (above, L,) working with McKay for the first time (above, R)) calls the script “a suspenseful story of a ticking bomb that gets closer and closer, but a lot of humor surrounds its impact. Adam found a way to show how people all over the world lack interest in listening to the \u2018science\u2019 preferring to focus on revenue and popularity.\u201d<\/figcaption><\/figure>\n

 <\/p>\n

Local 600 Crew – Don’t Look Up<\/em><\/strong><\/span><\/p>\n

Director of Photography: Linus Sandgren, ASC, FSF<\/p>\n

A-Camera 1st AC: Jorge Sanchez<\/p>\n

A-Camera 2nd AC: Jason Brignola<\/p>\n

B-Camera Operator: Davon Slininger<\/p>\n

B-Camera 1st AC: Trevor Loomis<\/p>\n

B-Camera 2nd AC: Talia Krohmal<\/p>\n

C-Camera Operator: Patrick Ruth<\/p>\n

C-Camera 1st AC: John Ellingwood<\/p>\n

C-Camera 2nd AC: Tim Sweeney<\/p>\n

Loader: Joshua Weilbrenner<\/p>\n

D-Camera AC: Dean Egan<\/p>\n

Aerial Director of Photography: Dylan Goss<\/p>\n

Aerial Camera System Technician: Peter Graf<\/p>\n

Spydercam Operator: Lawrence Fagan<\/p>\n

DIT: Kyo Moon<\/p>\n

Unit Still Photographer: Niko Tavernise<\/p>\n

Washington D.C. Unit<\/span><\/p>\n

Director of Photography: Minka-Farthing-Kohl<\/p>\n

1st AC: Evan Walsh<\/p>\n

2nd AC: Rachel Fedorkova<\/p>\n","protected":false},"excerpt":{"rendered":"

Oscar-winner Linus Sandgren, ASC, FSF, tries to outrun the apocalypse in Adam McKay’s latest satirical epic,\u00a0Don’t Look Up\u00a0 by Pauline Rogers \/ Photos by Niko Tavernise \/ Netflix   “It\u2019s almost like an old Marx Brothers movie or The Three Stooges, where there are mice loose at the opera premiere, but they\u2019ve got to cover it up,\u201d says Writer\/Director Adam McKay about his latest absurdist movie, Don\u2019t Look Up. The Netflix-produced comedy follows a pair of low-level scientists, Randell Mindy […]<\/p>\n","protected":false},"author":2,"featured_media":11660,"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-11658","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\n#TheSkyisFalling - 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\/theskyisfalling\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"#TheSkyisFalling - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Oscar-winner Linus Sandgren, ASC, FSF, tries to outrun the apocalypse in Adam McKay’s latest satirical epic,\u00a0Don’t Look Up\u00a0 by Pauline Rogers \/ Photos by Niko Tavernise \/ Netflix   “It\u2019s almost like an old Marx Brothers movie or The Three Stooges, where there are mice loose at the opera premiere, but they\u2019ve got to cover it up,\u201d says Writer\/Director Adam McKay about his latest absurdist movie, Don\u2019t Look Up. 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