PRODUC T I ON . CLICKBAIT
PERSONAL PROFILE DOP Mark Wareham explains that this reference, as well as the character- hopping narrative structure, are all part of creator Tony Ayres’ writing style. “That documentary was definitely something we talked about. Ayres gets a lot of ideas from real stuff. He’s also done a number of shows where he looks at a story from different points of view, that’s a trademark. We wanted to play with the idea that everyone had a different perspective. And that the internet has one, too.” The show’s style evolves throughout each episode to incorporate different visual storytelling techniques. The aim was to explore unique themes and subjective perspectives, while maintaining a harmonious aesthetic. The whole season was shot with Sony Venice cameras and Panavision C Series and T Series anamorphic lenses – which certainly helped with maintaining a consistent visual style. However, the team didn’t shy away from exploring a variety of grip and lighting scenarios for characters and sets. DOP Marden Dean further elaborates on how this was achieved through the production, by comparing episode one ( The Sister ) with episode three ( The Wife ). The camera movement and shot lengths were carefully considered to help us understand the characters, as well as emphasise the contrasts between them. The first episode largely employs the use of handheld shots to express Pia’s (Zoe Kazan) chaotic persona. But, Dean describes how for Sophie’s (Betty Gabriel) episode, they used “controlled steadicam, dollys and considered framing to underscore a desire to control the narrative, despite the spiralling chaos around her”. These well-considered camera choices make the most of the show’s episodic narrative structure, giving the audience opportunity to explore the experience of these characters – and the dichotomy between them. LIGHT MODE Dean also explains that the lighting in these characters’ homes was purposefully designed to further illuminate their differences. ‘’I wanted to give disparate spaces a distinct look, while feeling cohesive.” He continues: “Pia’s house is lit with Astera Titan LED tubes, screens and gelled fluorescent sources. This juxtaposes sharply to the near-uniform Tungsten light of Sophie’s house.” As a result, Sophie’s house appears much more conventional, clinical and perhaps cold – despite being a family home. This is congruent with her highly strung, type A personality – she is, after all, known to require that guests remove their shoes. This creates conflict both visually
and contextually with her sister-in-law Pia, whose dwelling is saturated in unnatural hues. The unconventional and experimental use of light and colour in her home is reminiscent of the strip and nightclub where she spends time, which are bathed in neon signs and disco lights. The interior locations of Sophie’s and Pia’s houses were shot in studio set builds, meaning the team had complete control
over the lighting of shots. Wareham also states that there were practical considerations that impacted the choice of lighting in the studio. “For the exterior we used LEDs, but inside – because they didn’t budget for a big lighting package – we had Fresnels and Tungstens.” Dean elaborates on how he used these to his advantage to create what he required. “I was able to craft various looks for
Production Interruption Filming ceased for six months before episode seven. This had advantages – the team saw edits of the prior episodes – and disadvantages – Jaylin Fletcher had a growth spurt and was noticeably taller.
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