Oscars: Cinematographers Explain How They Got Their Shots
Jarin Blaschke — “The Lighthouse”The startling black-and-white cinematography of “The Lighthouse” struck a chord with the Academy, resulting in Blaschke’s first nom after 20 years of work in the independent film scene.
Having previously collaborated with director Robert Eggers on their acclaimed horror film “The Witch,” the duo went to new lengths in psychological terror with “The Lighthouse,” with Blaschke relying on off-kilter angles to induce viewer anxiety.“Fritz Lang and Group f/64 [a photography collective founded by Ansel Adams] are my most obvious references,” he says.
“The lighting is stark, but that’s my natural tendency — to simplify and purify ideas rather than evoke a type of film, at least consciously.
It’s been so many years digesting and then executing this film that I’ve forgotten a lot of references.
My brain soaked them up.”Shot in ultra-boxy 1.19:1 aspect ratio, which ratchets up the level of visual claustrophobia for the audience by
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