Brief Summary
John Schwartzman, the cinematographer for Jurassic World Dominion, discusses the film's production, the challenges of filming during COVID-19, and the unique cinematic choices made. He shares insights into working with film versus digital, the use of animatronic dinosaurs, and the experience of reuniting the original cast.
- The production team prioritized safety during COVID-19, creating a secure environment for the cast and crew.
- The film utilized both 65mm and 35mm film, with a small portion shot digitally for specific lighting needs.
- Animatronic dinosaurs were used extensively, enhancing the actors' performances and creating realistic shadows and interactions.
- The return of the original cast members was a highlight, fostering a sense of camaraderie despite COVID-19 restrictions.
- Innovative techniques, such as the use of ncam and duraflame logs, were employed to achieve specific visual effects.
Intro
John Schwartzman, the cinematographer of Jurassic World Dominion, is welcomed to the Go Creative Show. The conversation begins with acknowledging the film's success, surpassing Top Gun at the box office. Schwartzman expresses his satisfaction that people are returning to theaters to see both movies. He recalls a conversation with Stefan Sonnenfeld, who did color timing for both Maverick and Jurassic World, about the feeling of having a billion dollars in worldwide gross.
Filming During COVID-19
Schwartzman reflects on the experience of filming during the COVID-19 pandemic, noting the varying levels of restrictions and precautions. He contrasts a fall project in Connecticut, where masking was not required due to low COVID-19 rates, with the resurgence of masking later in the production. He highlights the impact of seeing Laura Dern in a close-up on a large screen, emphasizing the importance of scale in filmmaking. Production of Jurassic World Dominion was shut down in March 2020 and resumed later with strict protocols. Producer Pat Crowley developed the initial safety protocols that allowed the movie to resume filming. The set was a safe place because of the frequent testing. The only major change was building the Malta set at Pinewood to avoid the risk of traveling.
COVID-19 Safety Measures and Protocols
Schwartzman compares the COVID-19 safety measures on "Jurassic World Dominion" to those used on "White Lotus," noting the advantages the latter had due to its location in Hawaii and the ability to buy out an entire resort. For "Jurassic World Dominion," the cast and key personnel were housed at the Langley Hotel near Pinewood Studios to minimize turnaround issues. While the crew couldn't be completely locked down, strict protocols were in place, and everyone understood the importance of maintaining a safe environment. The choices were always made on behalf of safety, recognizing the film's role in bringing the industry back into production.
Cinematic Choices and Film vs. Digital
Schwartzman discusses the decision to shoot Jurassic World and Dominion on film (65mm and 35mm), aligning with director Colin Trevorrow's vision and Schwartzman's preference. A single sequence was shot digitally due to a change in the light source, using a flambeau torch in the caves. To maintain consistency, the digital footage was scanned back to film. The availability of VistaVision Bowcam cameras at Pinewood Studios, which use 35mm film in a horizontal format, provided a large format option. The Kodak lab at Pinewood remained open, allowing for 35mm processing, which was crucial given concerns about the infrastructure for 65mm processing during the pandemic.
VistaVision and Maintaining Image Quality
Schwartzman explains the benefits of using VistaVision, including a larger negative area and less depth of field loss at the same stop. He details the technical aspects, comparing lens sizes and depth of field between 35mm and 65mm formats. The VistaVision camera, originally developed by ILM, was used for wide shots and scenes with significant camera movement due to its smaller size and weight. Silent cameras were used for close-ups with dialogue. This approach maintained maximum image quality while paying homage to the original Jurassic Park film.
Animatronic Dinosaurs and Visual Effects
Schwartzman emphasizes the extensive use of animatronic dinosaurs in the film, with over 40 creatures being puppeteered on set. He notes that actors prefer working with puppets, as they create real reactions, shadows, and happy accidents. The presence of physical dinosaurs also aids in framing shots and camera movement. While visual effects offer speed, the puppets enhance performances and overall realism. The puppeteers often added unexpected movements, contributing to a sense of reality.
Reuniting the Original Cast
Schwartzman shares his excitement about reuniting with Laura Dern and working with Sam Neill and Jeff Goldblum for the first time. Despite COVID-19 restrictions limiting social interaction, the cast formed a close bond, rehearsing and playing music together at the Langley Hotel. The pandemic ironically did not add significant time to the movie's production schedule. False positive tests occasionally caused delays, but the overall experience was positive and memorable.
Challenges and Memorable Moments
Schwartzman contrasts director Colin Trevorrow's fond memory of a helicopter scene with his own, highlighting the cinematographer's constant awareness of weather and logistical challenges. He describes the cinematographer's role as a "relief pitcher" who must perform consistently under pressure. Despite the stress, Schwartzman cherishes moments of success and collaboration. He recalls a scene in the cockpit of a plane, filmed after the COVID-19 shutdown, as a particularly memorable moment of returning to filmmaking as usual.
Shot Lister Sponsorship
A brief interlude to promote Shot Lister, a shot list creation app. Zach Lipowski, the founder, discusses the app's ability to schedule shots, helping filmmakers organize and estimate time per shot. Listeners of the Go Creative Show can receive a free version of Shot Lister Pro by emailing go [email protected].
Dinosaurs in the World and Cinematography
Schwartzman discusses how the presence of dinosaurs in the world influenced the cinematography. He mentions the use of "found footage" style shots, with cameras given to people to capture realistic moments. Patrick Loungeway, the second unit director of photography, handled much of the exterior work. The production utilized ncam with an iPad Pro, allowing for real-time animation of dinosaurs in the frame during scouting. This technology, improved from its initial use on Avatar, aided in visualizing and planning shots.
Practical Effects and the Scooter Guy Scene
Schwartzman shares his reaction to the internet's obsession with the "scooter guy kill scene," praising the stunt work and the balance of terror and humor in the film. He credits Patrick Loungeway and Dan Bradley for creating memorable and impactful moments.
Specific Scenes: Claire Underwater
Schwartzman details the technical aspects of filming the underwater scene with Claire (Bryce Dallas Howard). The scene was shot at Black Park near Pinewood Studios, with a pond excavated and lined for the shot. A techno crane and a periscope lens system from Panavision were used to capture the seamless transition from above to below the water. Bryce Dallas Howard's commitment to physical performance enhanced the shot's impact. Schwartzman jokingly questions if Bryce looks too pretty in the shot, emphasizing the importance of balancing aesthetics with narrative.
On-Set Practices and Actor Relationships
Schwartzman explains his preference for standing next to the camera and observing actors directly rather than relying on monitors. He uses a bounce board to manipulate light and create sparkle in their eyes. Drawing from his family's background in acting, he understands actors' insecurities and aims to create a comfortable environment. He shares an anecdote about working with Jack Nicholson and Morgan Freeman, emphasizing the privilege of being close to great actors. While he watches playbacks, he prioritizes being present during the initial takes.
BioSyn and Lighting Challenges
Schwartzman discusses the BioSyn set, noting its design's nod to Apple Park and the challenges of lighting its white interiors. The curved hallways and clean lines were visually appealing but required careful lighting to maintain depth of field while shooting on film. The use of LED lighting, necessitated by European regulations, presented challenges in achieving the desired brightness and punch. He collaborated with production designer Kevin Jenkins to build lighting into the set that would work for film.
Locust Room Set and Fire Effects
Schwartzman describes the creation of the locust room set, where interactive lighting was used to simulate the shadows of swarming locusts. Rock and roll movers with custom gobos were hidden above the set to create the effect. The color change of the locusts was also incorporated into the lighting design. For the fire sequence, the crew used sun strips and set duraflame logs on fire, dropping them on wires to create the effect of flying fireballs. He emphasizes the importance of collaboration and drawing from past experiences to achieve innovative solutions.
Lenses and Storytelling
Schwartzman reveals that he used the same Primo lenses from Panavision that he used on the first Jurassic World film. These lenses were tweaked to handle the contrast in Hawaii, where Pearl Harbor was filmed. The lens choices were primarily driven by the need to tell the story effectively, with visual effects considerations taking a secondary role. He emphasizes the importance of framing shots to enhance the narrative and showcase the animatronic dinosaurs.
Gratitude and Passion for Filmmaking
Schwartzman expresses his gratitude for being part of the Jurassic World franchise and his continued passion for filmmaking. He acknowledges the privilege of working with talented individuals and the close relationships formed on set. Despite the challenges, he finds joy in the collaborative process and the opportunity to create something special. He looks forward to his next project, "The School for Good and Evil," and a future appearance on the Go Creative Show.
