American Cinematographer - September 2019 - 55

"The lack of money
became a gift because it
allowed us to be more
surrealistic, which I think
helps tell the story
better."
on the streets. You could walk by [that
location] right now and not know it
was the same place where such events
happened."
Wagner submits that the
production's musical elements "came
organically from the movie. That's
what I really love - that the music
was not imposed upon the movie. So
in that sense, we didn't approach this
as a musical, [per se]. We didn't have a
choreographer or dance numbers, and
the film wasn't staged that way. It's
more like a Les Misérables or Fiddler on
the Roof, where the music emanates
organically from something happening to the characters."
Adetuyi adds that "avoiding

Two Blackmagic Design Ursa Mini Pro 4.6K cameras were employed to capture a scene between
Stefan and his coworkers as the spirit of rebellion grows stronger.

grandiose dance numbers was also a
way to keep the story grounded -
characters move through a story, and a
song happens. So then, the camera can
become a little more stylized. For
example, we have a sequence where [a
wealthy family] is in their dining
room, and [their African-Canadian
maid, Emma (Lisa Bell),] walks around
them, singing, and they are simply
www.ascmag.com

frozen. That is a stylistic technique, yet
we are totally grounded with the
woman singing, like we never left her
reality as she moves around them,
speaking her mind to them. And then,
at the tail end of the song, we go right
back into motion, and everyone picks
up speaking as they were, so you don't
really even sense the break - it just
goes with the fluidity."
➔
September 2019

55



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American Cinematographer - September 2019

Table of Contents for the Digital Edition of American Cinematographer - September 2019

Contents
American Cinematographer - September 2019 - Cover1
American Cinematographer - September 2019 - Cover2
American Cinematographer - September 2019 - 1
American Cinematographer - September 2019 - Contents
American Cinematographer - September 2019 - 3
American Cinematographer - September 2019 - 4
American Cinematographer - September 2019 - 5
American Cinematographer - September 2019 - 6
American Cinematographer - September 2019 - 7
American Cinematographer - September 2019 - 8
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American Cinematographer - September 2019 - 11
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American Cinematographer - September 2019 - 18
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American Cinematographer - September 2019 - 20
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American Cinematographer - September 2019 - 22
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American Cinematographer - September 2019 - 27
American Cinematographer - September 2019 - 28
American Cinematographer - September 2019 - 29
American Cinematographer - September 2019 - 30
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American Cinematographer - September 2019 - 33
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American Cinematographer - September 2019 - 36
American Cinematographer - September 2019 - 37
American Cinematographer - September 2019 - 38
American Cinematographer - September 2019 - 39
American Cinematographer - September 2019 - 40
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American Cinematographer - September 2019 - 42
American Cinematographer - September 2019 - 43
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American Cinematographer - September 2019 - 45
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American Cinematographer - September 2019 - 50
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American Cinematographer - September 2019 - Cover3
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