Digger: Chivo and shooting almost all of it on VistaVision
In a Definition interview posted October 17, Emmanuel Lubezki described building Digger's uncanny world from Renaissance paintings, miniature dioramas, specially made lenses, and, for the first time in his career, VistaVision on the majority of a film. The seed, he said, was planted years earlier shooting effects plates for Meet Joe Black: the projection was rough, the image was breathtaking.
More than 30 sets went up across Pinewood stages, with proxy sets and grey canvases used while Chivo and set decorator Anna Pinnock mapped the movie on a little digital camera. Getting the tone right took time.
Reality scenes were distinguished with light from real sources and a gradual turn toward handheld energy, plus an imperfect lens full of halation and blur. Format was not a trophy. It was how the film told you which world you were in.
Go deeper on Kingdom of Dreams
- → EP 275: Dan Laustsen on Frankenstein
- → EP 334: Jim Frohna on shooting Verity
- → EP 277: Juan Sarmiento on The Voice of Hind Rajab
We have not sat with Emmanuel Lubezki yet. Go deeper with cinematographers who talk about format, lighting, and building a world the camera can believe.
Headline inspired by reporting at Definition (Emmanuel Lubezki on photographing Digger). Full article remains on their site; this page is our craft lens and episode guide. Read the source at Definition ↗