{"id":8782,"date":"2019-06-05T14:55:43","date_gmt":"2019-06-05T21:55:43","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=8782"},"modified":"2021-05-30T18:13:14","modified_gmt":"2021-05-31T01:13:14","slug":"tell-me-a-secret","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/tell-me-a-secret\/","title":{"rendered":"Tell Me A Secret"},"content":{"rendered":"

Guild DP Jim Frohna and director Andrea Arnold probe “what lies beneath,” for Season 2 of HBO\u2019s runaway hit, Big Little Lies.<\/i><\/span><\/p>\n

by Matt Hurwitz<\/span><\/p>\n

 <\/p>\n

\n

Jim Frohna emerges from the bedroom of Celeste Wright (Nicole Kidman), having just captured a gut-wrenching moment between Celeste and her husband, Perry (Alexander Skarsg\u00e5rd), in a flashback scene to Season 1 of HBO\u2019s popular primetime soap, Big Little Lies<\/em>. Holding a partial camera rig and backpack, Frohna (All in the Family<\/em>,\u00a0<\/em>ICG Magazine, April 2015) is accompanied by his boom operator, Eddie Casares. Clearly moved by the emotion, he hugs his director, Andrea Arnold, as well as Kidman and Skarsg\u00e5rd. A-camera 1st AC, Faith Brewer, wipes tears from her eyes and smiles. \u201cHow did you know I was going to do that?\u201d Frohna asks of his focus puller, about an unexpected pan move requiring a quick response. \u201cI just knew,\u201d Brewer grins.<\/p>\n

Of course, this Guild camera team has the technical chops\u00a0to shoot one of the most popular series on any small-screen platform, now finally debuting its long-awaited Season 2 this summer. But each member has a unique prerequisite not often asked of union craftspeople. Or as Frohna\u2019s A-camera operator Shelly Gurzi, SOC, explains: \u201cWhat we looked for when we put this team together was a great group of people that were not only super qualified but also emotionally connected.\u201d<\/p>\n

Adapted by 11-time Emmy-winning writer\/producer David E. Kelly (Exposure, <\/em>ICG Magazine, June\/July 2019),\u00a0from Liane Moriarty\u2019s best-selling novel about the dark side of Monterey, CA\u2019s wealthy beach community, Big Little Lies<\/em>\u2019 first season was directed by Jean-Marc Vall\u00e9e and shot by Yves B\u00e9langer (Carry-On, <\/em>ICG Magazine, December 2014). For Season 2, Arnold, who had helmed episodes of two Jill Soloway series for Amazon, Transparent <\/em>and I Love Dick<\/em>, both shot by the Emmy-nominated Frohna, was brought on.<\/p>\n

\u201cThis season was more about the fracturing reality of [the women\u2019s] lives,\u201d Arnold describes, \u201cand since Jim and I see the world in many of the same ways, I knew he\u2019d tackle it with compassion and humanity. I felt lucky Jim was able to join me.\u201d<\/p>\n

 <\/p>\n

\""Jim
“Jim and I see the world in many of the same ways,” says director Andrea Arnold about her DP. “I knew he\u2019d tackle [Season 2] with compassion and humanity.” \/ Photo by Jennifer Rose Clasen, SMPSP \/ HBO<\/figcaption><\/figure>While Season 1 focused on the relationship between this group of well-heeled<\/strong> coastal moms \u2013\u00a0played by Kidman, Reese Witherspoon, Laura Dern, Shailene Woodley and Zo\u00eb Kravitz \u2013 and the hidden abuse suffered by Kidman\u2019s character, which ended in the secretive murder of her husband (Skarsg\u00e5rd), Season 2 deals with the aftermath. \u201cThey are all witness and party to Perry\u2019s death,\u201d Frohna says, \u201cand now they\u2019re living with varying degrees of guilt. We wanted to explore what it\u2019s like to carry that secret.\u201d<\/p>\n

\u201cSeason 1 did a beautiful job of visually representing these seemingly perfect lives,\u201d Arnold continues. \u201cImmaculate houses, kelp-free beaches, and frames of empty sea. But now their lives have fractured with the weight of the lie they told, and that has consequences. I wanted to convey that visually by putting the camera in their space, so we\u2019re seeing what they see,\u201d which meant always including the characters in the frame, even when shooting reverses of others they encountered.<\/p>\n

Frohna, who began his career as a gaffer and shot mostly commercials before gaining indie notoriety with the Jill Solway-directed Sundance hit Afternoon Delight <\/em>(2013), has, over the years, created a close-knit camera team, many of whose ascension in the ranks he has helped promote. Gurzi, for example, worked as Frohna\u2019s AC on commercials before he moved her to B-camera operator in Season 2 of Transparent<\/em>.<\/p>\n

\u201cShelly came with me when I did Afternoon Delight<\/em>,\u201d the DP recounts. \u201cAfter the first season of Transparent, <\/em>just knowing her eye and her heart, I sensed the possibility of her as an operator. She has a strong intuition and sense of framing. She knows when to move and when to be still, and it\u2019s great to see her become so strong at handheld.\u201d<\/p>\n

As Brewer notes: \u201cShelly and I transitioned together to being first ACs, and we would refer work back and forth. When she got the opportunity to become an operator for Jim, I became part of that tribe.\u201d Frohna says Brewer is one of the best ACs he\u2019s ever had. \u201cFaith is an invaluable collaborator,\u201d he shares. \u201cShe\u2019s got exceptional focus pulling skills, but what makes her so special is her connection to the story and deep compassion for the characters. Her insights and input make me a better cinematographer. I\u00a0don\u2019t ever want to do a project without her.\u201d<\/p>\n

As for B-Camera Operator D.J. Harder, they\u2019ve been acquainted since Frohna\u2019s gaffer days \u2013 Harder also bumped up to operator on Transparent<\/em>, and now has Laura Goldberg (\u201cG-berg,\u201d as he calls her) as his 1st<\/sup>AC, and Eric Matos as his 2nd<\/sup>.<\/p>\n

 <\/p>\n

\"Frohna
Frohna seeks out \u00a0“very skilled female operators,” like Shelly Gurzi, SOC, who began with the DP years ago as an AC. \u00a0\/ Photo by Jennifer Rose Clasen, SMPSP \/ HBO<\/figcaption><\/figure>\n

 <\/p>\n

Although Frohna also operates (see below), he prefers to keep a loose<\/strong> and open structure among the different rigs. \u201cBecause Jim is so emotionally motivated,\u201d Brewer adds, \u201che might suddenly say, \u2018I want B-camera to do this.\u2019 He\u2019ll be responding to something that feels right, so that\u2019s what we do.\u201d<\/p>\n

\u201cIt\u2019s like a tag team,\u201d Harder says. \u201cJim might do two-thirds of a scene on his own, and then Shelly does a shot, and I just need to be ready to go. Like a bullpen in baseball \u2013 you might start the scene, you might be the set-up guy or you might be the closer. That\u2019s how we work.\u201d<\/p>\n

Another notable aspect of Frohna\u2019s workflow is to employ a mostly female camera team. \u201cThere are a good number of female first and second AC\u2019s, or women in other support positions,\u201d he explains. \u201cBut I make a conscious effort to look for very skilled female operators. I feel it\u2019s important in terms of building up the presence of women in leadership and creative positions on the set.\u201d<\/p>\n

\u201cJim has always had a diverse mix of people and gender on his team,\u201d Arnold says matter-of-factly. \u201cIt\u2019s how the world should be, and Jim thinks that way.\u201d<\/p>\n

The male members of the department welcome the change. \u201cHaving women on the set is more reflective of our real lives beyond these sets,\u201d Harder notes. \u201cAnd, honestly, who wants to work in a toxic environment? We\u2019re beyond that. It\u2019s something that Jim and Andrea believe in, and I\u2019m happy to see things changing everywhere.\u201d<\/p>\n

 <\/p>\n

\"Photo
Vintage Canon K35’s (that were not rehoused) were used to help capture what Frohna describes as a “marine layer melancholy,” in the Monterey coastal air. \/ Photo by Jennifer Rose Clasen, SMPSP \/ HBO<\/figcaption><\/figure>\n

\u00a0<\/u><\/p>\n

As B\u00e9langer did with Season 1, Frohna used ARRI MINI’s\u00a0<\/strong>supplied by Otto Nemenz. With DIT\u2019s not typically in HBO\u2019s shooting budgets, Dagmara Krecioch served mainly as Data Manager\/Loader alongside Digital Utility Amanda Hamaday. Brewer says she and Gaffer Paul Samaniego discussed color temperature and vibe. \u201cWhen we shot some tests initially,\u201d Brewer shares, \u201cwe decided to go with Arriraw so that if something changed or there was a shift, the color wasn\u2019t burned in.\u201d<\/p>\n

While B\u00e9langer used Zeiss Super Speeds \u2013 a favorite of Frohna\u2019s on Transparent \u2013\u00a0<\/em>vintage glass was used on Season 2 to better capture the gauzy moisture in the Monterey coastal air. \u201cI call it a \u2018marine layer melancholy,\u201d Frohna describes. \u201cThere\u2019s a bit of a veil. And, to me, there\u2019s so much about secrecy in this show, and so much about fa\u00e7ades, and what\u2019s behind the fa\u00e7ade, that when you\u2019re in Monterey this just confronts you.\u201d<\/p>\n

Frohna described this intent to Brewer, who pointed him in the right direction.\u00a0 \u201cThere\u2019re a lot of vintage lenses that have been rehoused and reborn in the last few years,\u201d Frohna continues. \u201cI was lucky enough to learn about this old set of Canon K35s that were not <\/em>rehoused and were a bit fragile, because of their age. But they just had a softness and lush quality that really helped bring in that overall melancholia.\u201d<\/p>\n

There was also a change made to one of the MINI rigs to create the smallest possible footprint around the cast. Dubbed the \u201cTiny Tot\u201d and put together by Daisy Smith\u2019s husband, the rig separates the camera battery, the Preston focus controller, and other gear into a Swiss Army backpack frame, which the shooter wears out of sight, leaving just the camera body and lens upon the shoulder. The items are connected via custom cabling held in a loom created by Tibor Szakaly at Otto Nemenz.<\/p>\n

\u201cFor scenes with a high emotional or unspoken undercurrent,\u201d Frohna recounts, \u201cthe Tiny Tot gave us more freedom than regular handheld, where we could really respond to the actors. It\u2019s another way to move gracefully and unobtrusively, and just keep making frames as the characters move through the space.\u201d<\/p>\n

 <\/p>\n

\"Photo
Production designer John Paino calls Renata’s mountain-top mansion “over-the-top crass with lots of glossy finishes.” \/ Photo by Jennifer Rose Clasen, SMPSP \/ HBO<\/figcaption><\/figure>\n

 <\/p>\n

In addition to the Monterey locations, the show also shoots in Malibu<\/strong> and on stages at The Lot in Hollywood. Arnold says she gets inspired by \u201chow real locations affect the characters.\u201d Her affinity for location shooting follows along with Season 1, where, observes Production Designer John Paino, “we always preferred to shoot on locations. There is something essential about the patina of a real place that invigorates the actors and crew,” he adds. “But many of our location exteriors had corresponding interiors that were built on stage for practical reasons, so making sure a transition from one to another was seamless was key. A big part was working with Jim and his crew to provide them with the right amount practical lighting that matched.”<\/p>\n

The setting for each woman\u2019s home is character-specific,\u00a0ranging from ultra-luxurious to modest. Renata (Laura Dern), the richest, lives in a mountain-top mansion (shot in Malibu), which Paino says is \u201cover the top and crass,\u201d with glossy, shiny finishes. \u201cIt\u2019s a modern monstrosity,\u201d adds Samaniego, another longtime Frohna associate. \u201cWe tried to make it feel modern, almost to the point where you wouldn\u2019t want to sit on the couch because you\u2019re afraid it\u2019ll get dirty.\u201d<\/p>\n

Celeste\u2019s home is \u201ccultured and glacial, with colors that reflect that tone,\u201d Paino adds. Samaniego says \u201cthere\u2019s this perfection about [Celeste], but she\u2019s hiding something. So everything outside seems bright, but her world is actually a bit dark.\u201d<\/p>\n

The gaffer used sources pushing through windows, \u201cbut not making it bright and bubbly \u2013 playing it a little on the darker side, underexposing a lot,\u201d he adds, and with fill light used as needed. \u201cWe really relied heavily on the Alexa\u2019s amazing latitude to let it play it dark,\u201d he continues, \u201cand then just extract what we could later.\u201d<\/p>\n

The exteriors, lower floors, and balcony of Celeste\u2019s home were filmed in Monterey, while the bedroom and upper floor rooms were built as a set at The Lot. \u201cThere\u2019s a lot of architectural lighting on the exterior,\u201d Paino notes. \u201cWe completely rewired the ground floor, and the deck outside, to make sure all of the lighting in it was dimmable. Most of the houses we went into, especially those we used a lot, I would have an electrician put in dimmers, and change out LEDs.\u201d<\/p>\n

 <\/p>\n

\"Photo
Frohna is a naturalist when it comes to lighting. “If it wouldn’t naturally exist in that environment,” says Gaffer Paul Samaniego, “we try not to head in that direction.” Photo by Jennifer Rose Clasen, SMPSP \/ HBO<\/figcaption><\/figure>\n

 <\/p>\n

This approach fit Frohna\u2019s taste, which Samaniego knows well. <\/strong>\u201cJim\u2019s a naturalist,\u201d the gaffer notes. \u201cHe likes to keep it as realistic as possible. If it wouldn\u2019t naturally exist in that environment, we try not to head in that direction with the lighting,\u201d he says, referencing Dogme 95, <\/em>though not quite to that extreme. \u201cIt\u2019s like: \u2018Let\u2019s walk into a room, see how it is, and then understand the emotional beats and contents of the scene, and try to lend the lighting that supports that.\u2019\u201d<\/p>\n

Much of the approach involves natural light and practicals.<\/p>\n

\u201cWe would ask, \u2018How does the light get into this room? And how can we supplement that?\u2019\u201d Paino shares.<\/p>\n

Often that means the art department placing lights into the location, or even building out walls to cover cabling.<\/p>\n

\u201cIt\u2019s a carry over from the first season,”\u00a0Paino recalls, “in that any way we could incorporate practical lighting and make it seem that it was ‘built-in’ and you wouldn’t give it a second thought when you walked onto the set \u2013 that was the goal. On the past few shows it seems our department is actually contributing to lighting the film more than just providing floor lamps as needed.”<\/p>\n

Samaniego would supplement practicals with a LiteGear LiteMat in a set with a chandelier, \u201calways to just bolster the motivation the camera normally sees.\u201d The gaffer also created a pair of instruments dubbed \u201cMema\u201d and \u201cPepa,\u201d built from JEM ball parts, \u201cwhich had thicker gauge cable, so I could put a higher wattage globe in it than a household practical, which is limited to about 100 watts,\u201d then covered with big or small lampshades. \u201cIf you had a practical lamp, you could dim it down for proper exposure level, but then, off camera or out of frame, I could put this Mema or Pepa, and if it got caught in a reflection, it would just look like a lamp that was in the room,\u201d he adds.<\/p>\n

The cast appreciated the emphasis on built-in lighting, as it allowed for great physical freedom in any given scene. \u201cThe approach is \u2018light spaces, not faces,\u2019\u201d Samaniego describes, \u201cand not have to rely on marks. That way the actors can develop the scene with the director. If we did sneak [light] in after a take to help out a bit \u2013 it would always be motivated from a source.\u201d Adds Frohna: \u201cWe always prioritize the actors and give them room to create and bring life to the scene.\u201d<\/p>\n

 <\/p>\n

\"Photo
Photo by Jennifer Rose Clasen, SMPSP \/ HBO<\/figcaption><\/figure>\n

 <\/p>\n

Serving the cast is what Frohna\u2019s camera team does best,\u00a0<\/strong>and that\u2019s largely driven by the inspiration provided by their boss. Or as Arnold puts it: \u201cThe challenges of a film environment bring out your true nature. Over the time I have worked with Jim, I\u2019ve seen him be a loving, thoughtful, emotional, passionate human being \u2013 all of which flows naturally into his work.\u201d<\/p>\n

And, \u201cas this is a show about women,\u201d Arnold continues, \u201cI do think it\u2019s important to have women around the camera. And operating. I think it helps to bring a kind of comfortable balance that everyone feels.\u201d<\/p>\n

Gurzi agrees, adding that level of comfort extends to the female cast members. \u201cI think it really speaks to the show,\u201d she states, \u201cbecause the women are behind it, supporting women. In that way, perhaps, it allows [the actors] a little bit more vulnerability in their performance. I\u2019ve had previous actors say, \u2018I\u2019m so glad to have a woman on the team, filming me in this nude scene.\u2019 It\u2019s just a different comfort level.\u201d<\/p>\n

As befitting what Brewer calls \u201ca super-emotional approach to filmmaking,\u201d Frohna\u2019s directive to his operators is: \u201cShoot from your heart, not from your head.\u201d<\/p>\n

\u201cThat\u2019s been a running theme, about us connecting to the scene,\u201d Gurzi says. \u201cSo much of [the operating craft] is intuition and feel. It isn\u2019t so much about the technical as always being present in the scene.\u201d Adds Harder: \u201cYou can observe, or you can absorb. If you\u2019re absorbing, you\u2019re taking whatever energy is in the take and pulling it into your camera, and yourself. It\u2019s very cathartic.\u201d<\/p>\n

 <\/p>\n

\"Photo
Arnold wanted the operators near the characters or following them. “It’s not about being a witness, but more like you’re a character in the story,” Gurzi explains of the director’s approach. \u00a0(L) B-camera operator D.J. Harder (R) C-camera operator Kristy Tully \/ Photo by Jennifer Rose Clasen, SMPSP \/ HBO<\/figcaption><\/figure>\n

 <\/p>\n

Per Arnold\u2019s approach, ninety-nine percent of Season 2 was shot handheld.\u00a0<\/strong>\u201cI think actors feel restricted by dollies, track, and even Steadicam,\u201d the director shares. \u201cI find their movement artificial.\u201d Gurzi says Arnold wanted the operators near the character or following the character so that the audience can feel and sense what they\u2019re going through. \u201cIt\u2019s not about being a witness, but more like a character in the story,” Gurzi explains. “I\u2019ve had actors tell me: \u2018We feel you, we\u2019re connected.\u2019\u201d<\/p>\n

For those particularly intimate or logistically challenging scenes, like a small bedroom set, Frohna will dive in with the Tiny Tot (no shoes!) and only the boom operator, leaving Brewer outside to pull focus at a monitor.<\/p>\n

\u201cThe operators that work with me know that I love to operate,\u201d the DP explains. \u201cAnd there were certain scenes where Andrea would want me to just feel my way through the scene, as the actors are doing the same. She would turn and say, \u2018Jimmy, do this one with the Tiny Tot.\u2019 Or she would just give me the look, and I\u2019d know what she meant.\u201d<\/p>\n

What is captured while making that intimate connection between actor and camera is, everyone agrees, remarkable. \u201cJim is fantastic at finding moments, and knowing where to put himself in relationship to the characters,\u201d Samaniego concludes. \u201cIt\u2019s fascinating to watch because he just lands on these shots that are so powerful, and they\u2019re always at the right time. He\u2019s almost psychic about it.\u201d<\/p>\n

Of course, such benefits are not without ripples \u2013 like Brewer pulling focus for a handheld camera, with a wide-open iris to limit the depth of field, in a darkened room.<\/p>\n

\u201cJim wouldn\u2019t want us in the room, to not be seen by the actors,\u201d Brewer explains.\u00a0\u201cBut if you put the headphones on, and lock in for the feeling and listen to the dialogue, you get your rhythm with him. He\u2019ll tell me: \u2018We\u2019re gonna dance. Just be with me, and be there with your heart.\u2019 And we would do it! We would be there together, just dancing with the actors. I\u2019ve never really seen anything else quite like it before.\u201d<\/p>\n

 <\/p>\n

\"Photo
“This is a show about women,” Arnold states, “and to have women around the camera, and operating, brings a comfortable balance that everyone feels.” \/ Photo by Jennifer Rose Clasen, SMPSP \/ HBO<\/figcaption><\/figure>\n

 <\/p>\n

Big Little Lies: Season 2<\/u><\/strong><\/p>\n

Local 600 Crew<\/u><\/strong><\/p>\n

Director of Photography: Jim Frohna<\/p>\n

A-Camera Operator: Shelly Gurzi, SOC<\/p>\n

A-Camera 1st AC: Faith Brewer<\/p>\n

A-Camera 2nd AC: Daisy Smith<\/p>\n

B-Camera Operator: D.J. Harder<\/p>\n

B-Camera 1st AC: Laura Goldberg<\/p>\n

B-Camera 2nd AC: Eric Matos<\/p>\n

C-Camera Operator: Kristy Tully<\/p>\n

Additional AC: Michael Ashe<\/p>\n

Loaders: Dagmara Krecioch, Johanna Salo<\/p>\n

Utilities: Amanda Hamaday, DJ Williams<\/p>\n

Still Photographer: Jennifer Clasen, SMPSP, Merie Weismiller Wallace, SMPSP<\/p>\n

Unit Publicist: Gabriela Gutentag<\/p>\n

Underwater Unit<\/strong><\/p>\n

Operators: Robert Settlemire, Sean Gilbert, David William McDonald<\/p>\n

Techs: Drew Dumas, Michael Luntzel<\/p>\n

 <\/p>\n

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

Guild DP Jim Frohna and director Andrea Arnold probe “what lies beneath,” for Season 2 of HBO\u2019s runaway hit, Big Little Lies. by Matt Hurwitz   Jim Frohna emerges from the bedroom of Celeste Wright (Nicole Kidman), having just captured a gut-wrenching moment between Celeste and her husband, Perry (Alexander Skarsg\u00e5rd), in a flashback scene to Season 1 of HBO\u2019s popular primetime soap, Big Little Lies. Holding a partial camera rig and backpack, Frohna (All in the Family,\u00a0ICG Magazine, April […]<\/p>\n","protected":false},"author":2,"featured_media":8784,"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-8782","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nTell Me A Secret - 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\/tell-me-a-secret\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tell Me A Secret - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Guild DP Jim Frohna and director Andrea Arnold probe “what lies beneath,” for Season 2 of HBO\u2019s runaway hit, Big Little Lies. by Matt Hurwitz   Jim Frohna emerges from the bedroom of Celeste Wright (Nicole Kidman), having just captured a gut-wrenching moment between Celeste and her husband, Perry (Alexander Skarsg\u00e5rd), in a flashback scene to Season 1 of HBO\u2019s popular primetime soap, Big Little Lies. 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