Before lensing Obvious Child, director Gillian Robespierre and cinematographer Chris Teague looked at only a handful of films for reference. They peeked at Woody Allen’s 1970s and 1980s work and glanced at Lena Dunham’s 2010 film Tiny Furniture. But when it came to slogging through romcoms, Teague didn’t see much point in subjecting himself to hours of Notting Hills in order to familiarize himself with the genre’s cliches.
“The script for Obvious Child was so far from any mainstream romantic comedy that I wasn’t concerned that we’d make anything that felt like that,” Teague said. Continue Reading ›