{"id":12368,"date":"2022-12-23T08:08:13","date_gmt":"2022-12-23T16:08:13","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=12368"},"modified":"2022-12-23T08:08:13","modified_gmt":"2022-12-23T16:08:13","slug":"what-dreams-are-made-of","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/what-dreams-are-made-of\/","title":{"rendered":"What Dreams Are Made Of…"},"content":{"rendered":"

Kramer Morgenthau, ASC, fulfills a career highlight with the musical holiday romp, Spirited.<\/i><\/span><\/span><\/p>\n

by Pauline Rogers \/ Photos by Claire Folger \/ Apple TV +<\/span><\/span><\/p>\n

 <\/p>\n

\n

Every year a pack of new winter-holiday movies arrives,<\/strong> many reimagining that time-honored Dickens classic A Christmas Carol<\/em>. Most offer up new incarnations of Ebenezer Scrooge and Jacob Marley\u2019s ghost; some hark back to the original 1938 MGM black-and-white version (a slight 69 minutes!), some to comedy, and some to musicals. What\u2019s different about Apple TV+\u2019s Spirited<\/em>, directed by Sean Anders (Daddy\u2019s Home<\/em>, Horrible Bosses<\/em>, Instant Family<\/em>) and co-written by Anders with John Morris, is the blend of full-blown Broadway-style musical numbers with physical comedy (and a few tender moments). The result is a funny, silly, altogether entertaining new version of the miserly misanthrope who\u2019s taken on a magical journey, with Ryan Reynolds and Will Ferrell as our guides.<\/p>\n

To call this movie a spectacle is putting it mildly. There are eye-popping visuals that dazzle the audience, who, at times, may struggle to affix their attention \u2013 there\u2019s so much going on! For example, I could spend this entire article just breaking down the opening musical number, \u201cBring Back Christmas.\u201d Add in the parties, the action, and Reynolds\u2019 sumptuous Manhattan condo, and there\u2019s a lot to digest, visually speaking. There are also the quieter moments between Ferrell and Octavia Spencer\u2019s character (Kimberly) along the water, the spirited \u201cChristmas Morning\u201d number that begins as an ambitious oner, and, of course, a visit to the streets of Dickensian London, circa the 1840s, and, well, you get the idea.<\/p>\n

All of this means the only realistic approach to dissecting the ambitious journey that is Spirited<\/em> is to overlap some of the more elaborate musical sequences with observations from members of the production team \u2013 Director of Photography Kramer Morgenthau, ASC; Chief Lighting Technician Frans Wetterings III; Theatrical Lighting Designer (and Tony winner) Donald Holder; Key Grip Frank Montesanto; Choreographer Chloe Arnold; Costume Designer Erin Benach and others \u2013 to see how they pulled so many disparate threads together to create the holiday quilt Anders envisioned.<\/p>\n

Or as Anders shares, \u201cIt was like shooting many movies simultaneously, as each number feels like its own short film. It was a ton of fun to work on but often overwhelming considering there were different musical arrangements, choreography, sound mixes, camera, lighting, and a million other details for each number. I also wanted to convey the feeling of a live stage show within the film, so we used a \u2018chorus\u2019 of dancers who reappear throughout, like in a Broadway show. Our main cast and core dance team became a real family as they were together so often. I hope fans of the movie start to pick out their favorite dancers and pick up on how many times they appear throughout the film.\u201d<\/p>\n

\"\"
\u201c[Shooting Spirited<\/em>]\u00a0was like shooting many movies simultaneously, as each number feels like its own short film,” describes Director Sean Anders. “It was a ton of fun to work on but often overwhelming considering there were different musical arrangements, choreography, sound mixes, camera, lighting, and a million other details for each number.”<\/figcaption><\/figure>\n

Aiding Anders in this spectacular project was six-time<\/strong>–<\/strong>Primetime-Emmy nominee Morgenthau (Creed<\/em>, Thor: <\/em>The Dark World<\/em>, The Many Saints of Newark<\/em>, Chef<\/em>, Respect<\/em>). \u201cOne of the things that I love about Kramer is his ability to use blasts of color and take risks with it,\u201d Anders says. \u201cAnd looking at his reel, you can see his work on the Creed<\/em> movies often felt a bit like a musical. Kramer also brought in Don Holder, a Broadway lighting designer, who helped give the musical numbers a striking look that makes you feel like you\u2019re inside a giant stage production.\u201d<\/p>\n

Morgenthau says he embraced Anders\u2019 vision for \u201ca big, lush Hollywood musical shot with a Broadway vibe. We referenced Dion Beebe\u2019s work in Chicago<\/em> and [Giuseppe] Rotunno\u2019s work on All That Jazz<\/em>, Oswald Morris\u2019s work in\u00a0Oliver!<\/em> and John Alton\u2019s work on An<\/em> American in Paris<\/em>. It was several movies in one \u2013 a Christmas carol, a love story, a buddy physical comedy that breaks the fourth wall into a\u00a0fantasy-world Broadway-style musical.\u201d<\/p>\n

The DP and his 1st AC, Craig Pressgrove, did extensive camera and lens testing, ultimately opting to shoot the film in anamorphic (2.39 aspect ratio) with Panavision C and T series and some sequences shot spherically with Primo V\u00a0series lenses on the Sony VENICE 1. Working closely with DIT Kyo Moon and Colorist Peter Doyle, Morgenthau created LUT\u2019s for the different periods and theatrical lighting.<\/p>\n

\u201cThere were several reasons for implementing a LUT-based workflow,\u201d Doyle explains, \u201cas the grade or look that Kramer designed extended far beyond the capabilities of a CDL workflow. We had Victorian England, loosely based on a two-strip film look; a classic MGM musical look inspired by the early Eastman Kodak Color; and an 80s vibe, [as] a classic film-print emulation. And due to the complexities of visual effects, the scale of the wardrobe, and the set design, it was imperative for all the different departments to see how their work would be \u2018read\u2019 by the camera and the grade. LUT\u2019s allow the grade to be seen on set and all departments to make their final tweaks.<\/p>\n

\u201cAnother factor was mostly technical,\u201d Doyle continues. \u201cBy shooting during the prelights, I could build LUT\u2019s specific to the camera and lighting setups. In some cases, iterating interactively. For example, as Kramer was using a mix of cinema and stage lighting, with high-saturation narrow-band colors, and a digital camera sensor, we had the unavoidable challenge of chroma clipping. Using LUT\u2019s, we could build a robust pipeline into the grade, Gamut mapping and compression, matrixing, and color primary shifting. Kramer could use bright color LED stage lighting rigs with confidence, knowing exactly how the color would be reproduced. There was also the issue that on-set monitoring, editing, and remote reviews would be in Rec. 709. But the final distribution would be 100 nits in PQ 2020 HDR, 108 nits in PQ XYZ EDR on Dolby Vision Projection, 48 nits in DCI XYZ on Xenon Projection, and 108 nits in Rec. 709 SDR.\u201d<\/p>\n

As each department conformed its work to the film\u2019s dominant colors \u2013 cyan and magenta \u2013 it was important for Doyle\u2019s team to get accurate reproductions across all delivery formats. \u201cOften we used the LUT\u2019s to effectively grade in a known controlled color space, then map back out to the various devices, knowing their behavior,\u201d Doyle adds. \u201cWhile the film would be considered highly saturated, it was important the colors of the lighting, once filmed, not be reproduced as fluorescent or overpowering. LUT\u2019s allowed me to build a color grade that reacted as if the colors were paint pigments, where the colors would interact with more complexity than a classic RGB.\u201d<\/p>\n

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\"\"
Director of Photography Kramer Morgenthau, ASC implemented a LUT-based workflow via Colorist Peter Doyle, who notes that, “due to the complexities of visual effects, the scale of the wardrobe, and the set design, it was imperative for all the different departments to see how their work would be \u2018read\u2019 by the camera and the grade. LUT\u2019s allow the grade to be seen on set and all departments to make their final tweaks.” \/ Above Anders with stars Ferrell and Reynolds prepping a VFX-heavy blue screen scene.<\/figcaption><\/figure>\n

 <\/p>\n

As for lighting, Weterrings and Morgenthau<\/strong> spent a lot of time discussing how best to tackle the many musical pieces. On the recommendation of Guild DP David Mullen, ASC, Morgenthau brought in Holder to create the lighting for four large-scale musical numbers, allowing Weterrings to concentrate on the movie lighting.<\/p>\n

\u201cThe four big musical numbers were shot in three different locations,\u201d Holder recounts.\u00a0 \u201c\u2018Bringin\u2019 Back Christmas\u2019 at Mechanics Hall in Worcester, Massachusetts; \u2018Christmas Mornin\u2019 Feeling\u2019 and \u2018Ripple\u2019 [now appearing in the closing credits] on the Ghost World set, located in a Civil War-era armory [The Castle] in downtown Boston; and \u2018Do Little Good\u2019\u00a0\u2013 the \u2018Eleven O\u2019Clock number\u2019 as we say in musical theater \u2013 shot on Devonshire Street in Boston\u2019s Financial District.<\/p>\n

\u201cThe Christmas Tree Growers\u2019 Convention at Mechanics Hall [\u2018Bringin\u2019 Back Christmas\u2019] began with a traditional stage production [featuring a brilliant Art Deco design by Production Designer Clayton Hartley],\u201d Holder continues. \u201cBut early on, it pivoted into a full-blown fantasy scene that explodes the fourth wall, where every inch of the room was included. Devonshire Street and Ghostworld were locations where one would not expect to encounter Broadway-style theatrical lighting. However, all locations required lighting rigs that could deliver a base look and a non-theatrical approach for the wide shots and close-in book scenes, while transforming the space into a Technicolor-style Broadway musical.\u201d<\/p>\n

Holder says his approach was an integral part of Anders\u2019 and Morgenthau\u2019s vision for the movie, \u201cand we worked closely with Frans Wetterings and his incredible electric team to integrate the necessary theatrical and film lighting tools into each environment,\u201d he adds. \u201cFrans and Key Grip Frank Montesanto were quite cognizant of the huge additional scope that theatrical lighting introduced to the film. They were great about expanding their operation and team of expert practitioners to make all of it happen.\u201d<\/p>\n

The Broadway designer explains how a \u201cpre-visualization suite\u201d was built at the Ghostworld location, which allowed his team to craft basic lighting focuses and cueing structure for three of the four musical numbers off-line. This proved essential since pre-lighting time for each set was limited, and it allowed Morgenthau to weigh in on the overall approach \u2013 cueing, composition, color palette, etc.\u2013 before the cameras rolled.<\/p>\n

\u201cKramer insisted that we have a Sony VENICE [with DP] on set during our pre-light sessions,\u201d Holder remembers. \u201cIt gave all of us [including Doyle] the opportunity to see how the camera was reacting to a variety of LED and discharge lighting sources. Kramer determined early on that we needed a 6400K CT setting for the musical sequences to render the intended color range.\u201d The rest of the film was shot at 3200.<\/p>\n

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\"\"
Tony-winning Theatrical Lighting Designer Don Holder says that in\u00a0the best of circumstances, “adapting a proscenium-style lighting design for a multi-camera shoot, where the number is photographed from multiple angles is challenging. We constantly reconfigured the design, adjusting dozens of moving lights as the camera changed perspective, pushed in closer, or moved around a performer.\u201d<\/figcaption><\/figure>\n

 <\/p>\n

Holder says the overall process of shooting the musical<\/strong> sequences was intense. \u201cKramer and Sean arrived on set with many new ideas and had a lot of great impulses when seeing a production number on camera in the real space,\u201d he notes. \u201cSo, expecting and rolling with the unexpected became the norm. In the best of circumstances, adapting a proscenium-style lighting design for a multi-camera shoot, where the number is photographed from multiple angles [in addition to Steadicam moving through the throngs of dancers], was challenging, to say the least. We constantly reconfigured the design, adjusting dozens of moving lights as the camera changed perspective, pushed in closer, or moved around a performer.\u201d<\/p>\n

Wetterings says Holder provided a wealth of new knowledge for the film team.\u00a0\u201cTheatrical lighting on the different sets was a complete departure,\u201d he shares. \u201cSo, I found myself working with Don to create more \u2018cinema style\u2019 lighting for the musicals and trying not to hit the actors with multiple sources from every angle. It was a pleasure to learn about this different lighting style from both Don and Kramer.\u201d<\/p>\n

Whether musical number or traditional lighting, Weterrings was always conscious of the cyan and magenta color palette Morgenthau wanted to bridge the real and ghost worlds. As a result, he faced some challenges throughout. \u201cFor the void,\u201d Weterrings recalls, \u201cwe landed on this desaturated cyan look. It felt like you were floating with Clayton\u2019s black reflective floor. We had six 20-by-20 soft boxes on tractors and rails, each independently on chain motors to give Kramer the most flexibility while shooting.\u201d For the more traditionally lit sections, Weterrings relied on discussions with programmer Tim Boland for a starting point. \u201cTim was a great ally in creating a musical feel to the other scenes,\u201d Wetterings continues.\u201d We could preprogram fixtures and looks and show previs to Kramer before we started rigging. Then, Kramer and I would show up and have the ability to simply tweak a bit.\u201d<\/p>\n

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\"\"
For the more traditionally lit non-fantasy scenes, Chief Lighting Technician Frans Weterrings III says programmer Tim Boland was a great ally in creating a musical feel. \u00a0“We could preprogram fixtures and looks and show previs to Kramer before we started rigging,” Wetterings describes. “Then, Kramer and I would show up and have the ability to simply tweak a bit.\u201d<\/figcaption><\/figure>\n

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Speaking of previz, Morgenthau and the camera team<\/strong> used the weeks of dance rehearsals to plan camera positions, shooting the rehearsals with Sony A7S III cameras mounted on DJI gimbals. \u201cOur editor, Brad Wilhite, then cut the musical previs sequences together to get the feeling of how the camera was going to work with the choreography and how we would see the dancers on film,\u201d Morgenthau describes. \u201cChloe and her dancers were collaborative, and I think this helped to build the cinematic feel of the project.\u201d<\/p>\n

Morgenthau credits A-Camera\/Steadicam Operator Michael Fuchs, SOC, for being immersed in prep with the dancers. \u201cI cannot say enough about Michael\u2019s contribution to the cinematography of the film,\u201d the DP states. \u201cHis intuition and sensitivity brought the dance sequences, and the drama, to a higher level. We ran four cameras all the time, so lighting for that took a great deal of coordination. It made having John Garret, Patrick Ruth, and Al Pierce \u2013 all talented operators with great eyes \u2013 essential. The main focus was on A-Camera, and the other cameras often found moments with the dancers or the principals.\u201d<\/p>\n

As Choreographer Chloe Arnold shares: \u201cWhen I started, I learned the value of knowing the many roles on a set; and I\u2019ve also shadowed Debbie Allen when she has directed. Before we built the different numbers, I went to each department, collected information, and put each piece on a board in our rehearsal area. It was like Santa\u2019s workshop. People would wander over and see everything we were doing.<\/p>\n

\u201cWhen it came to mapping the camera moves,\u201d Arnold continues, \u201cit was a joy to work with Kramer and his team. The energy he brought to the dancers and the energy the camera crew got from the dancers was wonderful. We learned a lot about camera placement on this show. For example, when mapping out our numbers for \u2018Bringing Back Christmas,\u2019 we knew we had only one level to work with. So we worked with Kramer to find ways to use a Spidercam to make it appear we were 20 to 30 feet up.\u201d<\/p>\n

Also key to the intense pre-production was Costume Designer Erin Benach. \u201cBecause there was so much color in the lighting,\u201d Benach recounts, \u201cwe worked with Kramer and Clayton to narrow our choices down to four colors. The magenta and cyan gels skewed the costumes, so I made sure they all looked the same by keeping the colors basic and allowing them to be seen even with the show lighting. One of the interesting things is that you learn to predict when the show lighting is on things and where it might change. That\u2019s when textures come in handy.\u00a0Kramer loved the reflective textures I pulled, like the satins, which absorbed the light. If it was the modern world, we\u2019d go one way. We did a little quilted fabric when we went to the ghost world. We limited costumes to three colors for each number \u2013 red, copper, and green \u2013 so they didn\u2019t conflict with the lighting.\u201d<\/p>\n

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Morgenthau (above on Dickensian-Era London set) says the 1840 period sequences were a challenge for grip and lighting. “We wanted the scene to appear overcast and cold, like 1800s London in the dead of winter. In reality, it was late summer in Boston with very harsh, toppy sunlight,\u201d he describes.<\/figcaption><\/figure>\n

 <\/p>\n

As noted, Spirited <\/em>isn\u2019t all spectacle. Morgenthau<\/strong> cites a<\/strong> quieter sequence, set in Dickensian-Era London. \u201cWe wanted a moody daytime vibe,\u201d Morgenthau begins, \u201cwhich was a challenge for grip and lighting. We wanted the scene to appear overcast and cold, like 1800s London in the dead of winter. In reality, it was late summer in Boston with very harsh, toppy sunlight.\u201d<\/p>\n

Montesanto says it was the toughest set from the grip department\u2019s standpoint. \u201cWe filmed it over a series of days,\u201d he shares, \u201cand Kramer was hoping to keep the light consistent. Being period London, we wanted it dark and gray. The preferred location was Marshall Street in Boston. This is a very historic street and the start of the Freedom Trail. The challenges of this location were many.\u201d<\/p>\n

Anyone who knows Boston knows how confounding its streets are. Some are straight but change on a dime. Some have unnatural curves. For this location, the production needed a number of streets and alleys that ran north and south as well as east and west. In addition, production had direct sun-hitting portions of the set at any point during the day.<\/p>\n

Rigging Key Grip Jose Barrios and Montesanto devised a plan to cover as much of the set as possible with an overhead diffusion rig that would run on tech lines \u201cso we could deploy and retract the diffusion,\u201d Montesanto explains. \u201cThis included a massive truss structure that started on the rooftop of the Union Oyster House, went into some open windows above the Bell and Hand, and to some strategically placed truss towers that the Art Department helped us hide. We chose to use what we were calling \u2018charcoal,\u2019 which was a dyed grid cloth. We didn\u2019t want the blooming effect. The grid cloth wouldn\u2019t cut it all on a full sun day, so we added a series of points on our truss where we could pull up additional solids. We used an ultra-light water solid, which darkened the set on the bright days and eventually enabled us to film when light rain started.\u201d<\/p>\n

Since overheads didn\u2019t always do the job, \u201cwe added Magni 6.3 Telehandlers behind a few buildings with 20-by-30 charcoals to fill the gaps,\u201d Montesanto continues. \u201cOn the reversal day, the dance number would spill out onto Hannover Street, which meant we needed to add more Magni Lifts with fly swatters. For set extensions, we also had two 20-by-30 vertical-effects green screens on standard all-terrain forklifts at the Hanover end.\u201d<\/p>\n

 <\/p>\n

\"\"
Morgenthau calls\u00a0Spirited<\/em>\u00a0a radical departure from anything he\u2019s done. \u201cWhen I signed on, I thought this was going to be a small comedy\/musical,\u201d he laughs. \u201cIt evolved into a larger-than-life mash-up of so many beautiful things. Don, Frans, and I all pushed each other to create a lighting synergy that resulted in a heightened Christmas look that, hopefully, was a departure from what’s been done in the past.\u201d<\/figcaption><\/figure>\n

 <\/p>\n

One of Morgenthau\u2019s favorite \u201cintimate sequences\u201d is the<\/strong> long walk-and-talk that reveals the backstory between Ferrell and Spencer and sets up the future relationship. \u201cIt\u2019s a special scene,\u201d the DP explains, \u201cand we chose to shoot on the VENICE at ISO 2500 with a spherical lens at a 1.4 and a lot of the ambient nighttime city light to see the city lights of Boston. It is a long Steadicam walk-and-talk that breaks out into song and then crescendos in a romantic kiss. Our amazing VFX supervisor, Sean Devereaux, altered the Boston skyline to appear as New York Harbor.\u201d<\/p>\n

\u201cLighting was quite simple,\u201d says Weterrings. \u201cKramer wanted this special moment between Will and Octavia to feel romantic, not theatrical. So, we strung bulbs along the river, sources for water across the bay, and a massive backlight with a Vortex8 array and some proteus Maximus fixtures to hit the background buildings. Frank [Montesanto] armed out a large bounce from a Condor, so we could create a soft key.\u201d<\/p>\n

Morgenthau says Spirited<\/em> was a radical departure from anything he\u2019s done. \u201cWhen I signed on, I thought this was going to be a small comedy\/musical,\u201d he laughs. \u201cIt evolved into a larger-than-life mash-up of so many beautiful things. Sean has a musical background, and this magnum opus<\/em> was growing inside him for years. He pushed and encouraged me to use every cinematic muscle in my body. I explored color and movement way beyond anything I could have imagined. Working with a theatrical lighting designer, especially one as talented as Don Holder, was a new experience. Don, Frans, and I all pushed each other to create a lighting synergy that resulted in a heightened Christmas look that was, hopefully, a departure from what has been done in the past.\u201d<\/p>\n

\u00a0True to Morgenthau\u2019s words is the final musical sequence \u2018Do a little Good,\u2019 shot over five nights on Devonshire Street in the heat of a Boston summer. \u201cWe rehearsed the sequence with Chloe and her dancers for months during prep,\u201d the DP recounts. \u201cDon brought in Broadway lighting elements, but this was not the controlled environment of a single-axis proscenium; it was shooting 360 on a feral city street. It was a massive lift from everyone involved: lighting, grip, camera, costume design, make-up, production design, SFX snow, VFX frozen snow, the dancers, AD\u2019s and PA\u2019s, and, of course, the amazing cast. The scene starts as an epic walk-and-talk over a full city block and then breaks into song. Then Ryan [Reynolds] and Will [Ferrell] are joined by 50 ghosts\/dancers as an epic bus collision happens, and Ryan\u2019s character is \u2018redeemed\u2019 in the film\u2019s climax. It\u2019s always been a dream for me to shoot a musical \u2013 in Boston, no less, the city where I was born and raised. With this caliber of union craftspeople beside me, I can only grow as a cinematographer and artist.\u201d<\/p>\n

 <\/p>\n

\"\"
Anders says “one of the things I love about Kramer is his ability to use blasts of color and take risks with it.” As for Morgenthau, he says “it’s\u00a0always been my dream to shoot a musical \u2013 in Boston, no less, the city where I was born and raised. With this caliber of union craftspeople beside me, I can only grow as a cinematographer and artist.\u201d<\/figcaption><\/figure>\n

 <\/p>\n

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

Director of Photography: Kramer Morgenthau, ASC<\/p>\n

A-Camera\/Steadicam Operator: Michael Fuchs, SOC<\/p>\n

A-Camera 1st AC: Craig Pressgrove<\/p>\n

A-Camera 2nd AC: Holly McCarthy<\/p>\n

B-Camera Operator: John Garrett<\/p>\n

B-Camera 1st AC: Dan Mason<\/p>\n

B-Camera 2nd AC: Dean Egan<\/p>\n

B-Camera 2nd AC: Richelle Topping<\/p>\n

C-Camera Operator: Al Pierce<\/p>\n

C-Camera 1st AC: Jill Tufts<\/p>\n

C-Camera 2nd AC: Chris Hebert<\/p>\n

Digital Imaging Technician: Kyo Moon<\/p>\n

Digital Utility: McKenzie Raycroft<\/p>\n

Additional Utility: Keenan Kimetto<\/p>\n

Camera Loader: Mattie Hamer<\/p>\n

Still Photographer: Claire Folger<\/p>\n

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

Kramer Morgenthau, ASC, fulfills a career highlight with the musical holiday romp, Spirited. by Pauline Rogers \/ Photos by Claire Folger \/ Apple TV +   Every year a pack of new winter-holiday movies arrives, many reimagining that time-honored Dickens classic A Christmas Carol. Most offer up new incarnations of Ebenezer Scrooge and Jacob Marley\u2019s ghost; some hark back to the original 1938 MGM black-and-white version (a slight 69 minutes!), some to comedy, and some to musicals. What\u2019s different about […]<\/p>\n","protected":false},"author":2,"featured_media":12375,"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-12368","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nWhat Dreams Are Made Of... - 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\/what-dreams-are-made-of\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What Dreams Are Made Of... - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Kramer Morgenthau, ASC, fulfills a career highlight with the musical holiday romp, Spirited. by Pauline Rogers \/ Photos by Claire Folger \/ Apple TV +   Every year a pack of new winter-holiday movies arrives, many reimagining that time-honored Dickens classic A Christmas Carol. 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