American Cinematographer - June 2018 - 71

Unit photography by Dean Rogers, courtesy of A24. Additional behind-the-scenes images by Sebastian Solberg.

I

n 1977, in the decaying South
London community of Croydon, an
alien named Zan (Elle Fanning)
meets an awkward, punk-rocker
human named Enn (short for "Henry,"
played by Alex Sharp), and together the
teens embark on a radical journey of
self-discovery.
Photographed
by
Frankie
DeMarco and co-written by Philippa
Goslett and director John Cameron
Mitchell, How to Talk to Girls at Parties
is an adaptation of the eponymous Neil
Gaiman short story. It's DeMarco's
fourth feature with Mitchell, following
their previous teaming on 2010's Rabbit
Hole. According to DeMarco, How to
Talk to Girls had been in the works for
almost a decade before it finally went
into production in 2016, and like
Hedwig and the Angry Inch (AC July '01)
and Shortbus - his other two collaborations with Mitchell - it's a dynamic,
theatrical experience, bursting with
punk music and color, as well as psychedelic animated sequences designed by
visual-effects supervisor John Bair.
Appropriately enough, DeMarco
sat down with AC over beer in the
corner of a dark, loud, Williamsburg,
N.Y., bar to reflect on his creative relationship with Mitchell, and to describe
the cinematographic techniques for
their latest project.

American
Cinematographer:
This is your fourth feature with John,
in addition to all the videos and
commercials you've done together. Do
you see a thematic thread that
connects them all?
Frankie DeMarco: John and I
really respond to emotional stories.
Emotion is one of those elusive things
that's difficult to convey in a movie. It's
harder than comedy or action - to
emotionally move the people watching a
film. The other major theme that fascinates John is that common characteristic of all human beings: We're all misfits
and losers in some way.
There's a kind of punk theme
that runs through John's original
➣
scripts, too.

Opposite and this
page, top: An
awkward punk
named Enn (Alex
Sharp) befriends
an alien, Zan (Elle
Fanning), in the
feature How to
Talk to Girls at
Parties. Above:
cinematographer
Frankie DeMarco
(left) and director
John Cameron
Mitchell discuss a
scene on a
backyard set. Left:
DeMarco
shoulders an Arri
Amira.

www.ascmag.com

June 2018

71


http://www.ascmag.com

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

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
American Cinematographer - June 2018 - 2
American Cinematographer - June 2018 - Contents
American Cinematographer - June 2018 - 4
American Cinematographer - June 2018 - 5
American Cinematographer - June 2018 - 6
American Cinematographer - June 2018 - 7
American Cinematographer - June 2018 - 8
American Cinematographer - June 2018 - 9
American Cinematographer - June 2018 - 10
American Cinematographer - June 2018 - 11
American Cinematographer - June 2018 - 12
American Cinematographer - June 2018 - 13
American Cinematographer - June 2018 - 14
American Cinematographer - June 2018 - 15
American Cinematographer - June 2018 - 16
American Cinematographer - June 2018 - 17
American Cinematographer - June 2018 - 18
American Cinematographer - June 2018 - 19
American Cinematographer - June 2018 - 20
American Cinematographer - June 2018 - 21
American Cinematographer - June 2018 - 22
American Cinematographer - June 2018 - 23
American Cinematographer - June 2018 - 24
American Cinematographer - June 2018 - 25
American Cinematographer - June 2018 - 26
American Cinematographer - June 2018 - 27
American Cinematographer - June 2018 - 28
American Cinematographer - June 2018 - 29
American Cinematographer - June 2018 - 30
American Cinematographer - June 2018 - 31
American Cinematographer - June 2018 - 32
American Cinematographer - June 2018 - 33
American Cinematographer - June 2018 - 34
American Cinematographer - June 2018 - 35
American Cinematographer - June 2018 - 36
American Cinematographer - June 2018 - 37
American Cinematographer - June 2018 - 38
American Cinematographer - June 2018 - 39
American Cinematographer - June 2018 - 40
American Cinematographer - June 2018 - 41
American Cinematographer - June 2018 - 42
American Cinematographer - June 2018 - 43
American Cinematographer - June 2018 - 44
American Cinematographer - June 2018 - 45
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American Cinematographer - June 2018 - 47
American Cinematographer - June 2018 - 48
American Cinematographer - June 2018 - 49
American Cinematographer - June 2018 - 50
American Cinematographer - June 2018 - 51
American Cinematographer - June 2018 - 52
American Cinematographer - June 2018 - 53
American Cinematographer - June 2018 - 54
American Cinematographer - June 2018 - 55
American Cinematographer - June 2018 - 56
American Cinematographer - June 2018 - 57
American Cinematographer - June 2018 - 58
American Cinematographer - June 2018 - 59
American Cinematographer - June 2018 - 60
American Cinematographer - June 2018 - 61
American Cinematographer - June 2018 - 62
American Cinematographer - June 2018 - 63
American Cinematographer - June 2018 - 64
American Cinematographer - June 2018 - 65
American Cinematographer - June 2018 - 66
American Cinematographer - June 2018 - 67
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American Cinematographer - June 2018 - 70
American Cinematographer - June 2018 - 71
American Cinematographer - June 2018 - 72
American Cinematographer - June 2018 - 73
American Cinematographer - June 2018 - 74
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American Cinematographer - June 2018 - 76
American Cinematographer - June 2018 - 77
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American Cinematographer - June 2018 - 80
American Cinematographer - June 2018 - 81
American Cinematographer - June 2018 - 82
American Cinematographer - June 2018 - 83
American Cinematographer - June 2018 - 84
American Cinematographer - June 2018 - 85
American Cinematographer - June 2018 - 86
American Cinematographer - June 2018 - 87
American Cinematographer - June 2018 - 88
American Cinematographer - June 2018 - 89
American Cinematographer - June 2018 - 90
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American Cinematographer - June 2018 - 92
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American Cinematographer - June 2018 - 94
American Cinematographer - June 2018 - 95
American Cinematographer - June 2018 - 96
American Cinematographer - June 2018 - 97
American Cinematographer - June 2018 - 98
American Cinematographer - June 2018 - 99
American Cinematographer - June 2018 - 100
American Cinematographer - June 2018 - 101
American Cinematographer - June 2018 - 102
American Cinematographer - June 2018 - 103
American Cinematographer - June 2018 - 104
American Cinematographer - June 2018 - 105
American Cinematographer - June 2018 - 106
American Cinematographer - June 2018 - 107
American Cinematographer - June 2018 - 108
American Cinematographer - June 2018 - 109
American Cinematographer - June 2018 - 110
American Cinematographer - June 2018 - 111
American Cinematographer - June 2018 - 112
American Cinematographer - June 2018 - 113
American Cinematographer - June 2018 - 114
American Cinematographer - June 2018 - 115
American Cinematographer - June 2018 - 116
American Cinematographer - June 2018 - 117
American Cinematographer - June 2018 - 118
American Cinematographer - June 2018 - 119
American Cinematographer - June 2018 - 120
American Cinematographer - June 2018 - 121
American Cinematographer - June 2018 - 122
American Cinematographer - June 2018 - 123
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American Cinematographer - June 2018 - 125
American Cinematographer - June 2018 - 126
American Cinematographer - June 2018 - 127
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American Cinematographer - June 2018 - 129
American Cinematographer - June 2018 - 130
American Cinematographer - June 2018 - 131
American Cinematographer - June 2018 - 132
American Cinematographer - June 2018 - 133
American Cinematographer - June 2018 - 134
American Cinematographer - June 2018 - 135
American Cinematographer - June 2018 - 136
American Cinematographer - June 2018 - Cover3
American Cinematographer - June 2018 - Cover4
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