As a seasoned film critic with over three decades of experience under my belt and an unyielding passion for the art of cinematography, I find myself utterly captivated by Lawrence Sher‘s work on “Joker: Folie à Deux.” The intricate nuances in lighting, color palette, and camera techniques employed in this masterpiece are nothing short of breathtaking.
In “Joker: Folie à Deux,” there’s a moment where Joaquin Phoenix’s character, Arthur Fleck, is preparing for sentencing. He’s parted ways with his defense attorney and has chosen to represent himself in court. His partner Harleen “Lee” Quinzel (played by Lady Gaga) pays him a visit in his prison cell, planting a kiss on him as the guard calls out, “No physical contact allowed.
For cinematographer Lawrence Sher, the scene was simple and used a two-camera set up. “We did something slightly unconventional, which is, I cross-shot them,” Sher explains, meaning both close-ups were shot and lit at the same time.
In an episode of Inside the Frame, Sher discussed with EbMaster how they designed certain aspects of the film’s set: “We created narrow viewing points along one side, ensuring enough light would shine on Arthur while also providing a striking backlight for Lee. We also installed some fluorescent lighting down the hallway and above his cell, which served as a key source to illuminate her close-ups. She symbolizes love and warmth in the movie.
On the other hand, the illumination on Lee’s side was provided by fluorescent lights, which were far from attractive or pristine. As he put it, “It’s still our ‘ugly Joker’ fluorescent. It’s warm, and his side is a bit cooler.” This chilliness symbolizes the enigmatic aspect of the Joker, the part that Lee admires.
The selection of colors for the set design was inspired by windows and fluorescent lights, allowing production designer Mark Friedberg to construct sets that enabled director Sher to film from all angles (360 degrees).
The incorporation of both imaginative and melodic elements enabled Sher to delve into a broader spectrum of vibrant, engaging, and interactive lighting, significantly enriching his color range. “He found himself working with a wider array of bold and intense hues, such as reds, blues, and greens.
Similar to the last movie, Sher opted for ARRI’s Alexa 65 large-format camera for filming due to aesthetic consistency. He expressed his fondness for its ability to create a portrait-like feel in close-ups, with the background subtly blurring and giving the impression that characters are the main focus of each shot, even when wider lenses were used. This is what makes this format particularly appealing to him.
This time, the movie was purposefully made to be shown on IMAX screens, adjusting its screen aspect ratio accordingly.
Sher opted to employ similar spherical lenses from the initial movie. The key lenses, numbering around five or six, included the Zeiss 35mm compact prime, a Nikkor 58mm for close-focus shots – which is truly a standout lens – Prime DNA lenses, the Leica Macro-Elmar 90mm, and the ARRI Signature 350 mm, which played a significant role in the narrative.
According to Sher, the unique aspect about “Joker 2” is its portrayal as a romantic film. In essence, it delves into an in-depth exploration of two characters who are both afflicted by insanity, and their encounters, while also focusing on the protagonist’s internal conflict with his darker self.
Sher observes that Arthur’s mind carries a performative quality, and for the initial moments of the movie, he remains silent. The first time Arthur interacts with another character is when they relocate to another ward for an interview. At the end of the corridor, there’s a comforting glow of light. Lee’s arrival is marked by warmth. She emerges into the hallway bathed in that warm side light, places her hand on something and smiles, establishing their first connection. Now, she represents sunshine in his life.
Watch the video above.
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2024-10-11 16:46