![]() The 50mm Ultra Speed that I had opened up to a T1.0 and that’s astoundingly fast. It was a mixture of Ultra and Super and there’s not much perceptible difference between them. But I’m really happy with the Panavision Super Speeds and Ultra Speeds that I ended up with and thought they performed really well.įilmmaker: You had a single, mixed set of lenses, right? So your 24mm might be a Super Speed and then the 50mm might be an Ultra Speed. We just couldn’t afford a nice set of anamorphics. I just felt like that would be something that people hadn’t really seen – we’d have this shallow focus even in the wide shots. There was an early conversation where I was interested in using anamorphic lenses, but then cropping the image to a 4:3 (aspect ratio) because I really wanted that shallow depth of field that you can get from anamorphic. We struck an amazing deal with Panavision and that’s due to Panavision being supportive of mine and David’s careers, and also knowing that it’s sort of an investment that we will continue to bring them business. My lighting package and my camera package were extremely small. But was there anything that you really wanted that you couldn’t afford? I’ve seen stills from A Ghost Story with long dolly track, Steadicam, and a MoVI and you were able to shoot on an Alexa Mini - so it’s not like you were working with bare bones tools. ![]() Palermo: A lot of our touchpoints were from Asian cinema – such as Stray Dogs director Tsai Ming-liang and some Taiwanese New Wave filmmakers like Apichatpong Weerasethakul, especially his Uncle Boonmee, which is also very slow and deliberate but has these really fanciful elements.įilmmaker: No one is divulging the film’s exact budget at this point, but Lowery has said that the cost of the entire movie was less than one day of shooting on Pete’s Dragon. Or when the ghost gets off of the gurney, the script said “The camera holds for an impossibly long time.” (laughs)įilmmaker: Did you and Lowery have any references for the long, often static takes in the first section of the film? That scene changed in the final edit, but those sorts of details were spelled out. For example there was a scene where Rooney on headphones and the script said that we would not hear the music that she’s hearing, but instead we would watch her listening to a song for 3 ½ minutes. So the intention was clear from the beginning. Some shot lengths and even the aspect ratio were declared in the script. Palermo: The first version of the script that I got was about 25 pages and – though there are some key differences – it’s very much the movie that you see. ![]() I understand the shooting version was roughly 40 pages and David Lowery included very specific details such as the length of certain shots. Palermo spoke to Filmmaker about pulling off Affleck’s bed sheet ghost costume, almost prematurely bulldozing the main location and that epic Rooney Mara pie scene.įilmmaker: Tell me a little about the script for A Ghost Story. Palermo is back in director of photography mode on A Ghost Story, which finds a deceased musician (Casey Affleck) trapped in his former house - and a boxy 1.33 aspect ratio. ![]() He followed that by co-directing a documentary ( Rich Hill, an affecting character study of Missouri teens living in poverty) and a narrative feature ( One and Two). But the man behind the camera on A Ghost Story has a unique career trajectory of his own.Ĭinematographer Andrew Droz Palermo made his feature debut with Adam Wingard’s tone-mashing home invasion horror flick You’re Next in 2011. The polarity between director David Lowery’s $65 million Disney film Pete’s Dragon and the micro-budgeted A Ghost Story has been noted repeatedly in reviews and profiles. ![]()
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