PRODUCTION BEETLEJUICE BEETLEJUICE
GOTHIC GLITZ Detailed set designs recreate the eerie essence of the original film, with an emphasis on handmade elements lip sync, as well as rain and thunder effects. “The whole point of it being a challenge was that it looks effortless and real for the audience,” explains Zambarloukos. “Even what looks like a of nearly nine weeks. Capturing in- camera effects proved fairly complex, with the dream sequence in the final church scene being a notable example. The sequence involved wire work, puppeteering and a demonised musical in camera. I took reference from what I loved early on, such as FW Murnau films. Faust , Nosferatu and The Last Laugh are all very profound films; the humanity is deep despite being expressionist. Zambarloukos captured Beetlejuice Beetlejuice with a Sony VENICE 2 and Ultra Panatar lenses, which he had previously used on A Haunting in Venice (2023). “It’s an incredible camera – especially in low light – so I was certainly going to use it again,” enthuses Zambarloukos. “Tim always likes to work in 1.85:1, which I have been using more and more as an aspect ratio. I looked at how I could use the Sony VENICE 2 to get the maximum definition and fidelity with the most native 1.85:1 aspect ratio. We used Ultra Panatars and the newly released Ultra Panatar II lenses by Panavision.” The film was shot over a period
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