{"id":12160,"date":"2022-09-13T11:03:57","date_gmt":"2022-09-13T18:03:57","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=12160"},"modified":"2022-09-13T11:04:42","modified_gmt":"2022-09-13T18:04:42","slug":"skin-deep","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/skin-deep\/","title":{"rendered":"Skin Deep"},"content":{"rendered":"

Andrew Dominik waited 14 years to get\u00a0Blonde <\/em>made; his new Netflix feature, shot by Chayse Irvin ASC, CSC, renders Hollywood’s most famous starlet from the inside out. \u00a0 \u00a0\u00a0<\/span><\/span><\/p>\n

by Valentina Valentini \/ Photos by Matt Kennedy, SMPSP \/ Netflix<\/span><\/span><\/p>\n

 <\/p>\n

\n

Seven months before Blonde<\/em> was set to stream on Netflix<\/strong> when only a handful of people had seen writer\/director Andrew Dominik\u2019s three-hour, NC-17-rated adaptation of Joyce Carol Oates\u2019 novel, which fictionalized aspects of Marilyn Monroe\u2019s life, the writer\/director told a trade magazine that it was a masterpiece.<\/p>\n

\u201cBlonde is the best movie in the world right now,\u201d Dominik opined. And now, chatting with Dominik over Zoom (as the film’s Venice Film Festival world premiere nears), he doesn\u2019t back down from that comment.\u00a0Instead, Dominik qualifies it: \u201cI know [saying] something like that is inviting people to disagree with you, but why bother making a movie if you don\u2019t feel like it could be one of the best movies of all time?\u201d<\/p>\n

Why indeed?\u00a0Joyce Carol Oates saw a rough cut of the film in 2020 and described it as a \u201cbrilliant\u2026 feminist interpretation\u201d of her book, so it\u2019s safe to say Dominik has one true fan in the source material\u2019s creator. Of course, the New Zealand-born Australian filmmaker is no stranger to book-to-screen adaptations \u2013 there was the 2007 Oscar-nominated The Assassination of Jesse James by the Coward Robert Ford<\/em> and the 2012 neo-noir<\/em> crime thriller Killing Them Softly<\/em>. But since writing the script for Blonde<\/em> in 2008, eight years after Oates’ book swept the nation\u2019s bestseller lists, Dominik’s been struggling to get the project made. With the controversial casting of Cuban actress Ana de Armas as the translucent, busty beauty, and the visceral intimacy of the storyline on screen, Blonde <\/em>will, like Monroe herself, be a conversation point, regardless of critical opinion. I asked Dominik about the long slog to get Blonde\u00a0<\/em>produced, why he chose Director of Photography Chayse Irvin, ASC, CSC as his right-hand man, and what his goal was in transposing\u00a0Oates book to the small screen.<\/p>\n

 <\/p>\n

\"\"
Dominik says Blonde’s\u00a0<\/em>visual theme\u00a0was\u00a0to explore “the collective unconscious” of Marilyn Monroe. “There are so many photographs of her,” he explains, “and it seemed exciting to me to be trafficking in these big, familiar cultural images.”<\/figcaption><\/figure>\n

\u00a0<\/strong><\/p>\n

ICG: Did you always have a clear path toward how to come at this story visually?<\/strong> Andrew Dominik:<\/strong> I did. The big visual idea was to sort of traffic in the collective unconscious of Marilyn Monroe. There are so many images of her, and it seemed exciting to me to be trafficking in these big, familiar cultural images.<\/p>\n

When Netflix finally picked up the film in 2016 and you began to think about a DP \u2013 two years later \u2013 how did that process go? <\/strong>Well, Chayse was the DP who came and shot Ana\u2019s screen test for free. [Laughs.<\/em>] People had recommended him, and he did it really well, so I felt since he\u2019d done it for free, I should get him to do the movie! [Laughs again.<\/em>] But honestly, I feel that since we switched over to digital, this new generation of cinematographers who have grown up with digital use it better than the old masters. I feel like the old masters are trying to make it look like film, and that\u2019s not what I wanted. The most interesting things happen when you find the usable mistakes and the peculiarities in the technology that you can use aesthetically. I feel that if you\u2019ve grown up with film, it\u2019s a whole different set of peculiarities you\u2019re using. Whereas if you\u2019ve grown up with digital, if that\u2019s all you\u2019ve ever worked with, then that voyage of discovery is tied to the actual medium, if that makes any sense. Cinema has changed enormously; it\u2019s not about lighting anymore. It\u2019s about available light and lens choices. The young guys are always looking for unusual glass, and the film DP\u2019s, I\u2019ve found, often have a particular set of lenses they love that work. Having said that, Chayse also shoots a lot of film. I think this is the first feature he shot on digital, and he was actually disturbed by that. [Laughs.]<\/p>\n

Chayse talked about a spontaneous vibe on set where his choices were led from intuition rather than a shot list. Was that your experience?<\/strong> Well, I did have a shot list. [Laughs.] But for the most part, the film was worked out via a plan that I was always ready to abandon. Often it was about how we reacted to the physical space of certain locations or how the light behaved in those locations. Another thing I like about Chayse is that he has a still photographer\u2019s attitude towards lighting; he works around the light rather than getting the light to work for him. It\u2019s thrilling and a lot more fun. And Chayse brings a soulfulness to his imagery; he\u2019s not just attracted to what people will think are pretty pictures. He\u2019s attracted to something that\u2019s more\u2026raw. We wanted to get beyond the beauty part with Marilyn. Visual beauty is comfortable, reassuring and safe, and we were looking for something different.<\/p>\n

So how would you summarize your on-set collaboration? <\/strong>There are not many DP\u2019s who just do it, you know? Like Chayse is game even when you\u2019re shooting your biggest extra days and there\u2019s no lighting, just the lamp on the front of the camera because we\u2019re trying to imitate flash photography and it\u2019s your most expensive day. The director and DP have to have a very strong relationship shooting a movie. And then there\u2019s the relationship between the first AC and the actor that also needs to be strong. [A-Camera 1st AC] Jimmy Ward was quick and instinctive and ready to just go get a piece of Mylar or whatever. We tested a lot, but things on the day were improvised and built around the location.<\/p>\n

 <\/p>\n

\"\"
Director of Photography, Chayse Irvin, ASC, CSC (above with Ana de Armas) “has a still photographer\u2019s attitude towards lighting,” Dominik describes. “Chayse works around the light rather than getting the light to work for him. It\u2019s thrilling and a lot more fun.”<\/figcaption><\/figure>\n

 <\/p>\n

The camera\u2019s positioning and movement made viewing this film a very intimate experience. We\u2019re literally inside of Marilyn, following her conceptions, miscarriages, and abortions. Tell me about that choice. <\/strong>We wanted to give you the experience of being her, as the primary relationship in the film is between the audience and Marilyn; it\u2019s not between Marilyn and the other characters. And that\u2019s shown through an incredibly narrow [narrative] lens. She\u2019s misunderstanding the world, and none of the other characters in the story understand what\u2019s going on with her, but we, the audience, understand everything. So, it does create an unusual kind of intimacy where you understand what\u2019s going on but you wonder why no one else can see it. That\u2019s the whole drive of the film \u2013 to make the viewer want to shake her, and you just have to sit there helplessly as she destroys herself.<\/p>\n

And we are very close to her face \u2013 a lot. <\/strong>Ana\u2019s face resolved itself most like Marilyn\u2019s on a 50-millimeter lens. My favorite lens length is 35 millimeters, but with Ana\u2019s face on a 35 millimeter, she would become a bit more angular. So, much of the movie is shot on a 50-millimeter for that reason. We did have rules about filming her face, like you couldn\u2019t be below her chin, you had to be at eye level because that was when she looked most like Marilyn. There\u2019s a tendency nowadays, and I see it in everything, to shoot low. Look at most TV shows, and they\u2019re shooting from the ground. I don\u2019t know what that\u2019s about, but I guess people like seeing the roof or they think those are interesting compositions. [Laughs.]<\/p>\n

You created whole scenes around the many famous real-life photographs of Marilyn; was that an idea you\u2019d always had as to how to visually approach Blonde<\/em>? <\/strong>I had a bunch of different ideas about how to approach it over the years. My first thought was to utilize that weird fairytale architecture we have in Hollywood. Then I saw that German artist, Thomas Demand, who recreates famous news photographs by building them in cardboard. It\u2019s disturbing to see because you know the image, but it\u2019s simpler or there\u2019s something about it that\u2019s not right. It\u2019s distressing in some way. And I thought, \u201cWell, I could do a similar thing with photos from her life.\u201d I wasn\u2019t ever looking for good aesthetic environments; I was looking for environments that she actually lived in.<\/p>\n

And you used a lot of real locations from Monroe\u2019s life.<\/strong> The first thing I did with the location scout was to get a list of the 28 places that she\u2019d lived in Los Angeles. First, we searched Google Images to see if they still existed, and a bunch of them did. And then we drove around to see which ones we could get into, or couldn\u2019t, or which ones had changed, and which ones hadn\u2019t. I based a lot of the film around what I found out from that research. When you\u2019re putting the actress in exactly the same clothes, in exactly the same position, in exactly the same room, at exactly the same time of day, you can\u2019t help but create a s\u00e9ance. And Ana would always somehow hit it. I remember shooting that scene where Marilyn\u2019s in the window with DiMaggio [Bobby Cannavale], and Ana had been on the movie for a couple of weeks. Bobby\u2019s sitting there, holding this pose, and we\u2019re just telling him, \u201cOkay, move your arm here. Okay, Bobby, move your leg there.\u201d He\u2019s like, \u201cAre you kidding me? We have to stay still when we do this scene? I have to do the scene in this position? Are you crazy?\u201d And Ana is just saying, \u201cDon\u2019t worry. It\u2019ll be okay,\u201d calming him down, telling him it\u2019s going to work. And then Bobby gets it and is like, \u201cLet\u2019s do this.\u201d<\/p>\n

 <\/p>\n

\"\"
The primary relationship in Blonde,\u00a0<\/em>as Dominik shares, “is between the audience and Marilyn; it’s not between Marilyn and the other characters. And that\u2019s shown through an incredibly narrow [narrative] lens.” Framegrab Courtesy of Netflix<\/figcaption><\/figure>\n

\u00a0<\/strong><\/p>\n

This is not the first book you\u2019ve adapted into a film. Has that been a deliberate choice? And what is it that attracts you to that process? <\/strong>I like other people\u2019s visions of things. When you read a book, you have an emotional experience and you translate that into your own emotional experience, your own surprises in reading it. I\u2019m a creative person, but I don\u2019t like to make things up. I like true stories.<\/p>\n

You described Blonde<\/em> as a \u201clucky\u201d film. Can you explain?<\/strong> Well, we managed to get Fox and MGM to allow us to put Ana de Armas in Marilyn Monroe movies with George Sanders and Tony Curtis \u2013 that seemed impossible. Like, there was no way that anyone was ever going to allow us to do that, but we were lucky in that Rupert Murdoch sold Fox, and a more reasonable guy started running the thing. And then, in pre-production, the guy who was running MGM at the time was like, \u201cOver my dead body; this will never happen.\u201d But he lost his job, and Michael De Luca took over and was up for it. Getting into her house [is another example]. It was so hard to do that, but somehow it all worked out. It\u2019s unusual on a movie that seemingly impossible things go that well.<\/p>\n

Why do you think it took 12 years to get this movie out into the world?<\/strong> I needed to raise a certain amount of money to make the film, and my previous films haven\u2019t been financially successful. It\u2019s a difficult business, Hollywood. I think the psychology is that when something\u2019s been around for a certain period of time, people wonder why nobody else has done it. They think, \u201cWell, maybe we shouldn\u2019t do it.\u201d But that\u2019s the wrong way to think. If there\u2019s a good director who wants to do something and consistently wants to do it for a long period of time, you probably should do it! Hollywood is motivated by fear of loss of whatever\u2019s currently hot, and I don\u2019t understand that. I mean, speaking honestly, this film was brought to life at a great personal cost to me. I don\u2019t want to keep doing it if it\u2019s always going to be like that.<\/p>\n

 <\/p>\n

\"\"
The New Zealand-born, Australian-raised filmmaker says cinematographers who have grown up with digital capture, like Irvin (above: left) “are on a voyage of discovery that’s tied to the actual medium. Cinema has changed enormously,” states Dominik (above: middle with de Armas). “It\u2019s not about lighting anymore. It\u2019s about available light and lens choices. And young guys like Chayse are always looking for unusual glass.”<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Andrew Dominik waited 14 years to get\u00a0Blonde made; his new Netflix feature, shot by Chayse Irvin ASC, CSC, renders Hollywood’s most famous starlet from the inside out. \u00a0 \u00a0\u00a0 by Valentina Valentini \/ Photos by Matt Kennedy, SMPSP \/ Netflix   Seven months before Blonde was set to stream on Netflix when only a handful of people had seen writer\/director Andrew Dominik\u2019s three-hour, NC-17-rated adaptation of Joyce Carol Oates\u2019 novel, which fictionalized aspects of Marilyn Monroe\u2019s life, the writer\/director told […]<\/p>\n","protected":false},"author":2,"featured_media":12163,"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-12160","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-web-exclusive"],"acf":[],"yoast_head":"\nSkin Deep - 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