![]() I had a pretty good idea of how I wanted the movie to feel - my biggest look/visual reference being The Tree of Life. Even though this was, I believe, his first feature film, he really put in the time and effort to make it what we wanted it to be. Without Tom’s expertise, dedication and time, we would never have been able to get such a nice conform and color. He not only colored the film using DaVinci Resolve, but he also has a lot of experience with conform. Tom Younghans was the colorist, and we were really fortunate to work with him. How did you and Fletcher work with the colorist? How did you describe the look you wanted? We shot on location in Hague, with 13 days of principal photography, two planned pick-up days at Bravo Studios in NYC, and one unplanned pick-up day at a pool in Fletcher’s friend’s parents’ backyard. This was an extremely low-budget film we only had a $90,000 shooting budget, so we had to be as efficient as possible. Even the shots where there were lights, they were pretty minimal (night for night and interiors). Outdoors was almost all natural light, with a good amount of reflectors and flags - again, a testament to Fletcher’s experience and artistry. There were very few lights in this movie. What about the lighting setups? Was it mostly natural light? We shot the film on a combination of ARRI Alexa Mini and Canon C200 RAW with Cooke Panchro Classic primes and Canon Cinema zooms. Fletcher is a true director of photography in that she knows lighting inside and out, and she knows how to effectively run the camera department… and even grip and electrical G&E, should she need to. What was the film shot on, and how did you work with your DP, Fletcher?įletcher brings so much to the table because of her attention to detail, her laserlike focus on prep and her many years as a gaffer/lighting technician. DP Fletcher Wolfe answered some questions as well. We reached out to Choy to talk about making the film. Then Laura wrote the first draft of the screenplay, and we revised together. We stayed in the area overnight and really took it all in. To capture the film’s authentic feel, “Laura and I went up to the location in Hauge, New York - and specifically the DeLarm family farm - and walked around the property and talked to the town historian. She decides to take her on a trip to their abandoned family farm in a desperate attempt to connect before they have to say goodbye. The film follows Hannah, who notices the symptoms of a terminal and painful illness in her aloof daughter, Esme. Director Cory Choy having fun on set with co-writer Laura Allen.
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