Guillermo del Toro on the Crafts of ‘Nightmare Alley’
20.01.2022 - 20:54
/ variety.com
Tim Gray Senior Vice PresidentGuillermo del Toro’s “Nightmare Alley” is physically stunning, which the director says “sustains the darkness of the movie by keeping the audience almost hypnotized by those textures. If you make a beautiful movie that’s not telling a story or defining a character, it’s just decorative. That’s the difference between eye protein and eye candy.”Every worker behind the camera on the Searchlight film was “first-rate,” says del Toro, who also singled out several key artisans.
“We basically made two films,” he adds. “The carnival is full of steam, rain, mud and reds; the second half is sterile and cold, in the snow, full of metal, glass and straight lines.”Tamara Deverell Production design “We had a long period of preproduction. Tamara quickly identified the carnival as the hardest thing to do.
You are dealing with an extremely complicated set that is going to work as exteriors and interiors. We did an almost military operation of engineering, transforming the ground to carry water, electricity and steam, because I wanted to have steam rising the whole time. Every office in the city is designed like an alley.
Lilith’s [Cate Blanchett] office is an alley, and everything is behind secret panels — the recording tapes, the safe, the exit — they’re all concealed, like Lilith hiding secrets.”Dan Laustsen Cinematography“The camera never stops moving in the movie. There’s not a single static shot. I wanted the camera to remain curious.
When Lilith comes in, the elegance and the camera’s velvety moves come in with her. At the carnival, photographing rain, you have to backlight it, and since it’s a moving camera, we positioned large light cranes on both ends of the carnival. The carnival feels quite
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