{"id":9345,"date":"2020-01-01T09:00:53","date_gmt":"2020-01-01T17:00:53","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=9345"},"modified":"2021-05-30T18:03:50","modified_gmt":"2021-05-31T01:03:50","slug":"poetry-in-motion","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/poetry-in-motion\/","title":{"rendered":"Poetry in Motion"},"content":{"rendered":"\r\n\r\n\r\n

A handful of Sundance alumni, including Local 600 Director of Photography Tim Orr, gather to contemporize a classic figure of American letters.<\/span><\/p>\r\n

by Valentina Valentini \/\u00a0<\/span>Photos by Michael Parmalee<\/span><\/p>\r\n

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Four out of the five directors and the cinematographer for all 10 episodes of the new Apple TV+ series\u00a0Dickinson<\/em>\u00a0are Sundance alumni. It wasn\u2019t a deliberate choice on creator\/showrunner Alena Smith\u2019s part, but it does make perfect sense \u2013 Sundance has always fostered experimental creativity in filmmaking and beyond. And\u00a0Dickinson<\/em>\u00a0is nothing if not creatively experimental.\u00a0<\/p>\r\n\r\n\r\n\r\n

Starring Hailee Steinfeld as the rebellious 19th<\/sup>\u00a0Century poet Emily Dickinson, the show is a period coming-of-age story with a strong modern twist \u2013 a psychosocial commentary on what it means to be a young woman, then and now. The series \u2013\u00a0one of Apple TV+\u2019s first in their slate of original content \u2013 focuses on the posthumously famous Dickinson throughout her teen years, reimagining the cloistered 1850s Western Massachusetts life of a young woman as something unhinged, exciting, interrogatory. And because\u00a0Dickinson\u00a0<\/em>presents the character with \u201ca modern sensibility trapped in a pre-modern time,\u201d says Smith, \u201cwe were always looking for how to define that tone and strike that balance without ever losing the sense of elegance.\u201d<\/p>\r\n\r\n\r\n\r\n

Smith, whose background is in theater and who was also a writer on HBO\u2019s\u00a0The Newsroom<\/em>\u00a0and Showtime\u2019s\u00a0The Affair<\/em>, hired David Gordon Green to direct the first two episodes and to create the look-book for the first season; three more Sundance filmmakers \u2013\u00a0Stacie Passon, Lynn Shelton, and Silas Howard \u2013 along with Patrick R. Norris were brought on after Green to each direct two episodes. Green, who had his second feature,\u00a0All the Real Girls\u00a0<\/em>(2003), and several more features premiere at Sundance in the early 2000s, brought in his longtime Director of Photography Tim Orr to help carry the established look from episode to episode.<\/p>\r\n

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\u201cTim was the perfect balance between the strong vision that Alena had and the strange playfulness that I have,\u201d describes Green, who has had Orr shoot 11 of his 14 features, including all of his Sundance films. \u201cLike any great cinematographer, Tim\u2019s able to find that balance between the wackiness of the director and the wit of the words and the intelligence of the character; he\u2019s as much a psychologist as an artist at times.\u201d<\/p>\r\n\r\n\r\n\r\n

ICG writer\u00a0Valentina Valentini spoke with key members of the production team, including Smith, Green, and Orr, Production Designer Loren Weeks and Costume Designer John Dunn.<\/p>\r\n\r\n\r\n\r\n

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ICG:<\/strong>\u00a0Production design and costumes for\u00a0Dickinson\u00a0<\/em>essentially hewed to an 1850s rubric \u2013 how else was the look modernized?<\/strong><\/p>\r\n\r\n\r\n\r\n

Tim Orr (Director of Photography):<\/strong>\u00a0We wanted the camera to feel alive, with more energy than a typical period piece, which can be overly classical. We didn\u2019t want it to feel like you were just looking at a painting, but something younger, more vibrant, that a [younger] audience could relate to. We were trying to connect it not only emotionally, but also visually to a more tangible modern world. Some of that comes down to energetic camera movement, and then with lighting, it meant grounding it in a certain amount of realism, but still with a modern edge in terms of the actual physical look.<\/p>\r\n\r\n\r\n\r\n

David Gordon Green (Director):<\/strong>\u00a0Tim and I talked about Stanley Kubrick\u2019s\u00a0Barry Lyndon<\/em>\u00a0(1975) because it had a visual style that almost felt anachronistic \u2013 the use of low light and zoom lenses was something we wanted to employ. Alena, who had a very strong vision from the start, has a background in stage and theater, so she wanted to let the characters have an environment to explore while keeping her words very literal. Tim and I wanted to find nuance and elegance, so the camera wouldn\u2019t be too \u201cin your face.\u201d There are a few shots in the pilot that I remember [Smith] rolling her eyes at. [Laughs.] Like Tim rigging a camera to the buckets that Emily was going to be carrying back from the water well early in the show. Alena would see us preparing these very stylized shots and wonder what I was doing, but then it would make sense in the edit and she\u2019d be on board. I\u2019m always trying to bring an experimental quality to everything I do.<\/p>\r\n\r\n\r\n\r\n

Alena Smith (Creator\/Showrunner):<\/strong>\u00a0The most important concern was to have this balance of elegance and attitude, so we wanted the visuals \u2013 from the lighting to the costumes to the sets \u2013 to reflect that idea while being period accurate. So we infused that period correctness with unexpected color and flare. For example, we did a lot of research into what wallpaper and prints and fabrics would have been made out of and found all these crazy [palettes] that sort of shock the eye. They were accurate to the period, but it\u2019s not what you\u2019d expect to see in a period show. We always wanted it to look sumptuous and elegant and as truthful as possible to the era.<\/p>\r\n\r\n\r\n\r\n

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Showrunner Smith says her most important concern was a “balance of elegance and attitude.” From the lighting to the costumes to the sets, “we wanted to reflect that idea while being period accurate,” she explains. “So we infused that period correctness with unexpected color and flare.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

ICG: What equipment did you use to help to achieve these visual goals?<\/strong><\/p>\r\n\r\n\r\n\r\n

Orr<\/strong>:<\/strong>\u00a0Apple has adopted a native 4K requirement, so I wasn\u2019t going to be able to use my digital go-to camera, Alexa. This was prior to the mini LF coming out, and the traditional Alexa would not really suffice for the 4K requirement. I tested several cameras \u2013 Sony Venice, Panavision\u2019s DXL2 \u2013 instead of going directly to the Alexa LF, as I felt it might be too heavy. We needed a camera with some freedom of movement because we were shooting a lot of handheld. Even though our interiors were on a set, we wanted to treat [the set] as a practical location, and that meant a camera that wouldn\u2019t fatigue my A-camera operator, Arthur Scipio Africano, or the Steadicam Operator, Jeffrey Dutemple. I decided to use the DXL2, shooting 8K with the RED Monstro sensor to future-proof the project. Also, since we would be sticking to a period lighting palette with natural daylight, candles, and lanterns, I used Panavision\u2019s Primo 70 lenses and detuned to a Noir 3, which softened [the lenses] without lowering the contrast. The Noir 3 detuning was heavy enough to enable me to hold rich blacks and still render beautiful skin tones, without it feeling overly diffused. It also helped with all the highlights from the candle and lantern sources. I didn\u2019t have to use diffusion in front of the lens, which, of course, a lot of the time when you do that, especially with candles, you can create a double image, reflections, or what I would call \u201cbad flares\u201d that you just don\u2019t want.<\/p>\r\n\r\n\r\n\r\n

ICG: How did the other crafts complement the cinematography?<\/strong><\/p>\r\n\r\n\r\n\r\n


Loren Weeks (Production Designer):<\/strong>\u00a0I always design with the camera in mind. I try to offer light sources, camera positions, depth, layers, and flow. You never know until you start shooting how that blending of the two\u00a0disciplines\u00a0will work, but I was extremely pleased with the outcome on\u00a0Dickinson<\/em>.\u00a0In the mid-19th<\/sup>\u00a0century, the light sources were candles, whale-oil lamps, and fire. Whenever a light was close to an actor, we used real candles and modified oil lamps that burned gas. Lights in the background were often electric with flickering bulbs, or the circuit was on \u201cflicker.\u201d Candles were usually placed in front of mirrors or polished metal to bounce the light back. Every room had a working fireplace. We did this both for authenticity, since this was the only source of heating for the home, and to provide motivation for supplemental lighting by [Gaffer David Skutch\u2019s] electric team.<\/p>\r\n\r\n\r\n\r\n

John Dunn (Costume Designer):<\/strong>\u00a0We strove to give Tim a richly detailed world to photograph. While I won\u2019t pretend it wasn\u2019t nerve-wracking to choose wild colors and psychedelic\u00a0prints in a period that is usually represented in a much more restrained way, the truth is that our\u00a0Dickinson<\/em>\u00a0sets were often lit by actual candlelight and glowing hearths. This technique softened the rougher edges\u00a0and allowed me free rein to be bold and expansive with color. And this seemed so right for this often comic retelling of Emily\u2019s story.<\/p>\r\n\r\n\r\n\r\n

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Director of Photography Tim Orr says that even though Dickinson’s <\/em>interiors were on a set, “we wanted to treat [the set] as a practical location, and that meant a camera that wouldn\u2019t fatigue my A-camera\/Steadicam operator, Jeff Dutemple [SOC, above], or our B-camera operator, Arthur Africano. I decided to use the [Panavision] DXL2, shooting 8K with the RED Monstro sensor to future-proof the project.” \/ Photo by Barry Wetcher, SMPSP<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

ICG:\u00a0<\/strong>Taking period stories and modernizing them is \u201con brand\u201d right now. How did you approach it with\u00a0Dickinson<\/em>?<\/strong><\/p>\r\n\r\n\r\n\r\n

Dunn:\u00a0<\/strong>I was intrigued and felt challenged by this fresh exploration of her early life in Amherst. The few but iconic visual images of Emily were of a person frozen in literary amber, so I knew I\u2019d need to explore an unexpected vocabulary to break through to a deeper understanding of the formation of an American genius. After extensive photo research [a growing process in the 1840s and 1850s], the\u00a0costume design team presented wide-ranging mood boards for each of the characters and principal settings in and around Amherst to David, Tim and the writers. This began a dialogue on the visual mood we wanted to capture. Of key interest were the actual use of bold colors and the juxtaposing of wild patterns \u2013 paisleys, stripes, and florals \u2013 in everyday clothing and home decoration. We decided to explore this avenue of design rather than the sepia-toned world we\u2019ve come to expect from historical dramas. What was going on in Emily\u2019s poetry was anything but sepia-toned! We rigorously toed the line concerning correct 1850s silhouettes. What brings the freshness is the bold use of color, which, in fact, is also quite accurate. You see the contemporary eye has been trained to a very different take on 1850 \u2013 one of somber, muted versions presented through the ages in art, photography and film. It just felt right to heighten the contrast of how the characters\u2019 wardrobes presented accurately, sartorially speaking, while coming across in a more contemporary vernacular.<\/p>\r\n\r\n\r\n\r\n


Weeks:<\/strong>\u00a0We found the most opportunity [to modernize] in Emily\u2019s fantasies. Each script offered its own unique set that gave me creative freedom. The inspiration for Death\u2019s carriage came from Fred\u00a0Astaire\u2019s 1927 Rolls-Royce Phantom, which he upgraded around 1932. Henry David Thoreau\u2019s cabin was decorated in a\u00a0decidedly\u00a0\u201chipster\u201d\u00a0fashion, and we created a 19th<\/sup>-Century version of a disco ball for the Dickinson house party scene.<\/p>\r\n\r\n\r\n\r\n

Orr:<\/strong>\u00a0We do take leaps from reality with the retelling of Emily\u2019s teen years. But we were careful to always ground that in realism. What\u2019s written on the page and what the actors are doing are outside of the period-appropriate sets, production design, costumes, and, to a large degree, the lighting. I never wanted the lighting to look overly stylized within the day-to-day scenes of the storyline, but there were several instances where we got to take a stylistic leap \u2013 scenes that are a little detached from reality, more fantasy-oriented. For example, in episode three with the party scene, we used a Victorian disco light with moving multi-colored lights that were realistic to the world, but in this instance, it all comes from Emily\u2019s imagination. It\u2019s the same thing with Death\u2019s carriage\u00a0\u2013\u00a0we\u2019re in a heightened, fantasy-driven world. We teeter in both \u2013 the realistic, natural world that is stretched when we enter those fantasy sequences.<\/p>\r\n\r\n\r\n\r\n

Green:<\/strong>\u00a0There are a few things within the camera language that you wouldn\u2019t find in a period piece that I thought would help the attitude of the characters and tell the story. Anything with the camera, I looked at how to [modernize the story] in service of the script. Everything is still authentic to the time period, so it felt like a believable world that we could invite younger audiences into with modern dialogue [and music]. There is also this internal conversation wanting to incorporate diversity. And if we\u2019re dealing with Amherst in the 1800s, that\u2019s a very limited topic. If there were chances to bring in ethnic and cultural diversity, we tried to utilize those opportunities. But Alena is so fluent with her research, it had to be precise. It\u2019s funny trying not to be influenced by all of the movies and TV shows that have come before, of period subject matter, and, specifically, Emily Dickinson, and still try to bring a unique flavor.<\/p>\r\n\r\n\r\n\r\n

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Production Designer Loren Weeks says a prime opportunity to modernize the story came through the lead character’s fantasies. “Each script offered its own unique set that gave us creative freedom,” Weeks says. “The inspiration for Death\u2019s carriage [above] came from Fred\u00a0Astaire\u2019s 1927 Rolls-Royce Phantom, which he upgraded around 1932.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

ICG: There were five directors on the show\u00a0\u2013 did Tim change his look at all with the perspectives?<\/strong><\/p>\r\n\r\n\r\n\r\n

Green:<\/strong>\u00a0I brought on Lynn Shelton, who is a friend from Sundance, and then Alena brought on the others. This was the first time I\u2019ve ever established a show and then watched other people take it on. We encouraged [the new directors] to bring their signatures but to still follow the template Tim and I set in the beginning. At least that\u2019s the intention, and it\u2019s not so mechanical of a process. We had the common thread of Alena and Tim, so there was a visual language that we\u2019d established. Then the hope is \u2013 and this is what I love about the new streaming format \u2013 is that I can help even more stories get told and more directors from more genres get\u00a0established. The goal is always to bring in other talented voices to expand the universe.<\/p>\r\n\r\n\r\n\r\n

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Smith says she and Orr [far left] were the only creatives on set for every episode and scene. “I think that\u2019s the special thing about where television is at right now, where the DP is essential,” she concludes. “He or she provides an incredibly crucial connective tissue through the entire project.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Smith:<\/strong>\u00a0I was on set covering every scene as the showrunner\/producer and the only other person who was there for every single scene was Tim. Hailee [Steinfeld] is in almost every scene, of course. But behind the camera, Tim and I were the constants. And, I have to say, for Tim to have that kind of endurance and still make every scene beautiful\u2026I think that\u2019s the special thing about where television is at right now, where the DP is essential \u2013\u00a0he or she provides an incredibly crucial connective tissue through the entire project.<\/p>\r\n

\u00a0<\/p>\r\n

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Local 600 Camera Team \u2013 Dickinson<\/strong><\/p>\r\n\r\n\r\n\r\n

Director of Photography: Tim Orr<\/p>\r\n\r\n\r\n\r\n

A-Camera Operator\/Steadicam: Jeff Dutemple, SOC<\/p>\r\n\r\n\r\n\r\n

A-Camera 1st AC: Greg Finkel<\/p>\r\n\r\n\r\n\r\n

A-Camera 2nd AC: Emma Rees-Scanlon<\/p>\r\n\r\n\r\n\r\n

B-Camera Operator: Arthur Africano<\/p>\r\n\r\n\r\n\r\n

B-Camera 1st AC: Bradley Grant<\/p>\r\n\r\n\r\n\r\n

B-Camera 2nd AC: Suren Karapetyan<\/p>\r\n\r\n\r\n\r\n

DIT: Jessica Ta<\/p>\r\n\r\n\r\n\r\n

Loader: Patrick McKeown<\/p>\r\n\r\n\r\n\r\n

Still Photographers: Michael Parmelee, Barry Wetcher, SMPSP<\/p>\r\n\r\n\r\n\r\n

Publicist: Julie Kuehndorf<\/p>\r\n","protected":false},"excerpt":{"rendered":"

A handful of Sundance alumni, including Local 600 Director of Photography Tim Orr, gather to contemporize a classic figure of American letters. by Valentina Valentini \/\u00a0Photos by Michael Parmalee   Four out of the five directors and the cinematographer for all 10 episodes of the new Apple TV+ series\u00a0Dickinson\u00a0are Sundance alumni. It wasn\u2019t a deliberate choice on creator\/showrunner Alena Smith\u2019s part, but it does make perfect sense \u2013 Sundance has always fostered experimental creativity in filmmaking and beyond. And\u00a0Dickinson\u00a0is nothing […]<\/p>\n","protected":false},"author":2,"featured_media":9357,"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-9345","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nPoetry in Motion - 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\/poetry-in-motion\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Poetry in Motion - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"A handful of Sundance alumni, including Local 600 Director of Photography Tim Orr, gather to contemporize a classic figure of American letters. by Valentina Valentini \/\u00a0Photos by Michael Parmalee   Four out of the five directors and the cinematographer for all 10 episodes of the new Apple TV+ series\u00a0Dickinson\u00a0are Sundance alumni. It wasn\u2019t a deliberate choice on creator\/showrunner Alena Smith\u2019s part, but it does make perfect sense \u2013 Sundance has always fostered experimental creativity in filmmaking and beyond. 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It wasn\u2019t a deliberate choice on creator\/showrunner Alena Smith\u2019s part, but it does make perfect sense \u2013 Sundance has always fostered experimental creativity in filmmaking and beyond. 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