Cinematographer Mike Gioulakis on shooting the doppelgängers of Us

The latest entry in my Shutter Angles column for Filmmaker Magazine is a chat with Us cinematographer Mike Gioulakis. Shot on Arri/Zeiss Master Primes with an emphasis on practical effects, which included storyboarding nearly the entire film in order to mainly use clever blocking, framing, and editing to sell the movie’s doppelganger effect rather than relying on digital tricks like face replacements.

Gioulakis also breaks down a half dozen specific shots from the film, including the opening credits’ long pullback shot of a wall of caged bunnies.

Cinematographer Dan Laustsen talks The Shape of Water

The Shape of Water frame grabs

Check out my interview with The Shape of Water cinematographer Dan Laustsen (Nightwatch, Crimson Peak, John Wick: Chapter 2, The Brotherhood of the Wolf) for Filmmaker Magazine.

Laustsen’s third collaboration with director Guillermo del Toro, The Shape of Water tells the story of a mute cleaning woman (Sally Hawkins) who falls in love with the amphibious creature (Doug Jones) housed at the government research lab where she works.

Shot on Arri Alexa XTs with Master Prime lenses on a surprisingly skimpy budget of $19.5 million.

Here’s a snippet from the interview:

Dan Laustsen interview quote The Shape of Water