American Cinematographer - March 2018 - 35

weren't married to the previs. There
were a few fundamental 'superhero'
rules we followed, like the way certain
characters should be shot from a lowerthan-the-eye level to give them more
weight and power, but that's not even
from the Marvel playbook - it just
makes sense."
For grand-scale visual reference,
the filmmakers studied the BBC's
Planet Earth documentary series, Ron
Fricke's Baraka and Samsara (AC Sept.
'12), and Terrence Malick's The New
World (AC Jan. '06). They watched
movies about families, like The
Godfather, and revisited the intimate,
subjective camerawork of one of
Coogler's cinematic inspirations, A
Prophet (AC March '10). They even
looked at the Chef 's Table episode that
features Alex Atala. As for other superhero films, "If there was one that we
aspired to, it would probably be The
Dark Knight [AC July '08], in the way it
conveys a humanism on a large scale,"
says Morrison. She provided Beachler
and costume designer Ruth Carter with
a photographic look book incorporating
examples of deep light shafts, contrasts
and color saturations, and in return
Beachler and Carter shared their

T'Challa partners with CIA agent Everett K. Ross (Martin Freeman, top, right) - as well as Okoye
(Danai Gurira, above, right) and the Dora Milaje, Wakanda's special forces - to defeat Killmonger
and his partner in crime, arms dealer Ulysses Klaue (Andy Serkis, top, left).

palettes and textures.
In bringing Wakanda to life, the
filmmakers considered the fictional
country's geographical location, architecture, light, fashion and culture.
Afrofuturism, an aesthetic and philosophy addressing the themes and concerns
of the African diaspora through a
perspective of technology and sciencefiction, played an important role in the
film's design, impacting everything
from color palettes to the geographic
www.ascmag.com

orientation of the sets. Morrison points
to Wakanda's circular motifs as one
example. "It had been decided long
before I came along that the theme of
Wakanda is circular, because everyone is
the same distance from the center;
everyone is equal," she explains.
Though Wakandan society
operates on hyper-advanced technologies, its cultural identity is rooted in the
body and spirit. Morrison adds, "It's not
a poor country with iPhones. It's a rich
March 2018

35


http://www.ascmag.com

Table of Contents for the Digital Edition of American Cinematographer - March 2018

Contents
American Cinematographer - March 2018 - Cover1
American Cinematographer - March 2018 - Cover2
American Cinematographer - March 2018 - 1
American Cinematographer - March 2018 - 2
American Cinematographer - March 2018 - Contents
American Cinematographer - March 2018 - 4
American Cinematographer - March 2018 - 5
American Cinematographer - March 2018 - 6
American Cinematographer - March 2018 - 7
American Cinematographer - March 2018 - 8
American Cinematographer - March 2018 - 9
American Cinematographer - March 2018 - 10
American Cinematographer - March 2018 - 11
American Cinematographer - March 2018 - 12
American Cinematographer - March 2018 - 13
American Cinematographer - March 2018 - 14
American Cinematographer - March 2018 - 15
American Cinematographer - March 2018 - 16
American Cinematographer - March 2018 - 17
American Cinematographer - March 2018 - 18
American Cinematographer - March 2018 - 19
American Cinematographer - March 2018 - 20
American Cinematographer - March 2018 - 21
American Cinematographer - March 2018 - 22
American Cinematographer - March 2018 - 23
American Cinematographer - March 2018 - 24
American Cinematographer - March 2018 - 25
American Cinematographer - March 2018 - 26
American Cinematographer - March 2018 - 27
American Cinematographer - March 2018 - 28
American Cinematographer - March 2018 - 29
American Cinematographer - March 2018 - 30
American Cinematographer - March 2018 - 31
American Cinematographer - March 2018 - 32
American Cinematographer - March 2018 - 33
American Cinematographer - March 2018 - 34
American Cinematographer - March 2018 - 35
American Cinematographer - March 2018 - 36
American Cinematographer - March 2018 - 37
American Cinematographer - March 2018 - 38
American Cinematographer - March 2018 - 39
American Cinematographer - March 2018 - 40
American Cinematographer - March 2018 - 41
American Cinematographer - March 2018 - 42
American Cinematographer - March 2018 - 43
American Cinematographer - March 2018 - 44
American Cinematographer - March 2018 - 45
American Cinematographer - March 2018 - 46
American Cinematographer - March 2018 - 47
American Cinematographer - March 2018 - 48
American Cinematographer - March 2018 - 49
American Cinematographer - March 2018 - 50
American Cinematographer - March 2018 - 51
American Cinematographer - March 2018 - 52
American Cinematographer - March 2018 - 53
American Cinematographer - March 2018 - 54
American Cinematographer - March 2018 - 55
American Cinematographer - March 2018 - 56
American Cinematographer - March 2018 - 57
American Cinematographer - March 2018 - 58
American Cinematographer - March 2018 - 59
American Cinematographer - March 2018 - 60
American Cinematographer - March 2018 - 61
American Cinematographer - March 2018 - 62
American Cinematographer - March 2018 - 63
American Cinematographer - March 2018 - 64
American Cinematographer - March 2018 - 65
American Cinematographer - March 2018 - 66
American Cinematographer - March 2018 - 67
American Cinematographer - March 2018 - 68
American Cinematographer - March 2018 - 69
American Cinematographer - March 2018 - 70
American Cinematographer - March 2018 - 71
American Cinematographer - March 2018 - 72
American Cinematographer - March 2018 - 73
American Cinematographer - March 2018 - 74
American Cinematographer - March 2018 - 75
American Cinematographer - March 2018 - 76
American Cinematographer - March 2018 - 77
American Cinematographer - March 2018 - 78
American Cinematographer - March 2018 - 79
American Cinematographer - March 2018 - 80
American Cinematographer - March 2018 - Cover3
American Cinematographer - March 2018 - Cover4
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