It was very challenging to design coverage for these scenes and required a lot of imagination on behalf of our cast and crew to trust that these sequences would be suspenseful.Īs the film title “The Invisible Man” already suggests, one of the protagonists is often not to be seen at all. Some of these techniques might feel “wrong” or unusually composed, but our aim was to create a relentless tension. We also hoped it would engage the audience and encourage them to search the edges of the frame for any movement or hint of our lurking predator. Focus might push past a foreground character into an unlikely area of the frame. “The Invisible Man” is about a woman named Cecilia (played by Emmy winner Elisabeth Moss) escaping an abusive partner. We were very interested in her highly paranoid point of view and, therefore, suggestively filmed empty spaces, letting the camera linger hauntingly on the mundane corners of a room. We also framed characters in an unusual way that would suggest someone else could be inhabiting the negative space in the frame. He wrote an absolutely thrilling script and he pushed me and the crew to come up with innovative ways to shoot the film. There we employed a lot of in-camera motion tracking for our lead actor during action sequences and Leigh was interested in evolving that in “The Invisible Man” which features a character you can’t see. Leigh and I had worked together on a movie before called “Upgrade” and we both enjoyed creating a visual language unique for that film. “The Invisible Man” by director Leigh Whannell is a terrifying modern remake of Universal’s classic monster story. What was the visual idea behind your version of the tale?
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