BABY REINDEER PRODUCTION
C reated by writer-comedian based on Gadd’s own experience with a stalker, fictionalised as Martha Scott (played by Jessica Gunning, with Gadd as protagonist Donny Dunn). Aligned with Donny’s struggles as an aspiring stand- up comedian, the series keeps him in the (sometimes literal) spotlight, employing a number of unique lensing and lighting techniques to do so. Richard Gadd, Baby Reindeer is a part drama, part black comedy STUCK IN THE MIDDLE Acting as cinematographer on the first four episodes, Krzysztof Trojnar established the show’s visual tone with director Weronika Tofilska – an old friend from film school. “When I read the script, I couldn’t believe what I was reading,” Trojnar admits. “It was so engaging; you’re immediately in this world, and Martha is such an unusual character.” Adapted from Gadd’s one-man show of the same name, Baby Reindeer is largely told in the first person, with Donny narrating the story – one that’s deeply subjective yet universal, that comments on human flaws and the price of fame – as it unfolds. “It was always his story,” states Trojnar. “The camera was always close to him, and we knew from the start it was going to be his point of view – not literally, but in the way we portray him.”
He and Tofilska agreed that they didn’t want to feel detached from Donny’s story. “It was all about being with the character and feeling the intensity,” Trojnar reflects. To that end, he opted for wide lenses – specifically ARRI Rental’s DNA lenses. “They have this great characteristic where they lose the resolution towards the edge of the screen. This worked perfectly with the idea that Donny is in the middle of the story. There are always central compositions, as he talks about being the centre of attention. “We predominantly shot the show on 35mm large format – so a little bit wider than traditional 35mm work – but that was the main lens of choice,” Trojnar continues. “Depending how the scene felt or what kind of emotion we were trying to evoke, we would go wider if needed.” For instance, in episode 4, which centres around Donny’s abusive relationship with a man named Darrien O’Connor, Trojnar wanted Darrien’s flat to appear distorted and feel like an ‘unsettling and uncomfortable place’. ALL OF THE LIGHTS Episode 4 is a harrowing watch, portraying a series of sexual assaults initiated by Darrien, a successful TV writer whom Donny meets while attending the Edinburgh Fringe. The show hired both an intimacy coordinator and an on-set
SWIFT HALF Cinematographer for four out of seven episodes, Trojnar worked closely with Tofilska to maintain the story’s dark tone
It was always his story. WE KNEW FROM THE START IT WAS ALWAYS GOING TO BE his point of view ”
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