We are super excited to be working on the details of bringing 20 Weeks together for a June shoot. There are many moving parts to making a film like this, and we are working on several things at once, but I’ve been working with the DP, Daud Sani, to define the look.
Stylistically, I’d like the performances to be understated and real, with a bit of grit and reality. But I don’t want the visuals to be so sparse and “real” that it feels like a documentary or a neo-realist movie. I want to use tight lens, with what I call a “dense frame” like there layers in the background, but they are soft and out of focus.
Since the story is also nonlinear, my goal is also to use color as a means of presenting time. No fancy cuts or treated footage, but rather, the colors of their character’s wardrobe and their styles. So we see them at a specific time with a specific look. There are three times in the movie: the past, the present and the future, and I want to make these times periods very distinct in the ways that they look.
I’ve been watching some movies, and really pondering how this whole look will come together, and I feel like Eternal Sunshine of the Spotless Mind is a really good reference. I like the way the performances feel real, gritty. They also use a lot of handheld shots with tighter lenses and PD that has depth/dimension.
I also like her. The color palette is very different, but the lenses and framing choices are somewhat similar.