He’s just a fantastic actor, The amount of things I could say about how amazing he is on set, and character-wise, the list goes on and on. How did you discuss that kind of blocking and framing? One of the most noticable things about that space is the harsh, rectangular overhead spotlights - Tom Hiddleston starts his interrogation under a spotlight, and when he gets angry, he moves himself back under it. We got to watch that happen before our eyes, and it was very comical. That scene was up front in our schedule, so Owen and Tom were getting to know each other in general. That’s probably one of my favorite spaces in the show.Īnd then the acting, obviously - they’re riffing off each other, and you’re in the room with them and feeling the energy.
So we’re trying to always keep it interesting, every time they go back there, changing up the lighting and the projections. We shot a good amount of coverage, and play in that space a lot. The editing was fantastic with that scene. We’re trying to time those movements to the dialogue. The lights move, so when we’re cutting back and forth, you see the lights change on the actors. We did some lighting changes above, in the Brutalist ceiling.
Some of our main references were David Fincher’s Zodiac and Terry Gilliam’s Brazil, and the original Blade Runner, in terms of creating spaces that feel strong and weighted, with the people in them placed in a way where the conversation feels very heavy, so you’re paying a lot of attention to the lines, and where your eyes are drawn. A Clockwork Orange obviously came up in our discussions. I like to frame center-punched, keeping in mind the architecture of the room, and framing for the architecture and the people at the same time. So when it came to the Time Theater, Kasra, the production designer, did a fantastic job of creating a space that had a lot of opportunity to feel textural and moody, and create symmetry. We shared those sensibilities, around noir films and more moody thrillers, so we were already on the same page as far as lighting and tone. Autumn Durald Arkapaw: Kate ’s sensibilities led me to get the job in the first place.
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