PRODUCTION LOVE LIES BLEEDING
LIGHT CRAFT Fordesman’s adept handling of lighting techniques contributed to the film’s striking visual aesthetic
god-like figure. “The scene proved to be particularly time-consuming as well as difficult to capture,” he shares. “It changed so much from the original idea that we had to adjust the plan while already shooting: plate scenes for the wide shots and closer coverage of Katy in a studio to composite her as a giant in our location plates, which consisted a lot of maths and crossed fingers.” There were around eight weeks of prep during the initial stages of pre- production. The duration of the shoot lasted seven weeks in New Mexico – beginning in June 2022 – with an additional week of pickups a few months later. Fordesman relied on production designer Katie Hickman and costume designer Olga Mill, plus the makeup department, to help capture the visual aesthetic of the eighties. “Of course, the wigs helped too!” he adds. “I was also inspired by the sodium vapour street lighting, which was around in the eighties and had a green tint; they can mostly be seen in Paris, Texas .” Initial tests were shot in prep and a LUT was created with Rob Pizzey from Goldcrest in London, who did the grade. “Our post schedule was delayed, so I ended up colour grading with Vanessa Taylor instead who did an incredible job. I also have to give a massive shout out to our onset DIT Tim Gregoire, who was doing live grading. He was balancing our images throughout, and in tune with how I liked things. I didn’t even need to keep checking in his tent; I had full trust in his abilities and sense of what to do.” Discussing his approach to lighting the film, Fordesman notes the daylight interior scenes had a little help from extra-large HMI sources. “HMI sources bounced in usually, but not to overpower
since the quality of natural sunlight is hard to replicate,” says Fordesman. “Night interior scenes made use of practical light sources with Astera NYX bulbs controlled from a desk for full control over colour. LED sources like Creamsource Vortex and ARRI SkyPanels are part of everyone’s lighting lists these days just for ease of use. They can drive light through diffusion or bounce with a light source, which can quickly be controlled
remotely and access almost any colour. I’m still very old-school when it comes to tungsten. I like to use Lowel Rifa lights still for close-ups on skin, also 2K spring balls dimmed down. There is something about a bulb dimmed down with its warmth that I find hard to replicate.” “I have always wanted to shoot a film in the US; American cinema has shaped my understanding of film culture since I can remember,” Fordesman concludes. “Particularly this film, being so drenched in Americana references and shot in New Mexico. Every day of production was exciting – my crew were incredible, and so fun and kind to work with too.” Co-produced by A24 and Film4, Love Lies Bleeding premiered at the 2024 Sundance Film Festival and is released in the UK on 3 May. The film is currently showing in theatres throughout the US
AMERICAN CINEMA HAS SHAPED my understanding of film ”
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