JOKER: FOLIE Á DEUX PRODUCTION
them in real time; hiding behind cars or a wall, and then exposing them under these Klieg spotlights that mimicked searchlights in a prison.” Eventually, the escapees are located and bathed in a blinding, overexposed white light as all the spotlights combine. “We wanted to bring them down the driveway all the way to the gates and the press, covering that entire environment in one shot. We weren’t simply trying to light up that huge field of view, but also be expressionistic with these classic ‘catching a prisoner’ lights,” adds Sher. THE CAMERA AS A WITNESS When it came to the camera package for Folie à Deux , Sher opted for the ARRI ALEXA 65, the same large format camera he deployed on the original Joker . This continuity maintained the visual flow between the two films, and the 65’s large sensor enabled Sher to achieve the level of detail and depth-of-field he sought.
TAKEN TO COURT The emotional courtroom scene went from locked-down, steady shots to chaotic, swirling motion to build tension
compositions without overthinking it or storyboarding it to death.” One of the most challenging scenes from a lighting design perspective was when Joker and Lee break out of the asylum. Working with a big, nighttime exterior and keen to capture the escape in one continuous shot, the team had their work cut out. “Again, we wanted to give them freedom and be able to cover
11
definitionmags
Powered by FlippingBook