The registers we worked at were so incredibly low and subtle, which were enabled by the camera and high-speed lenses.
#Her spike jonze analysis windows
I mostly used small LEDs, like the shot near the end where he’s standing in front of the windows - I hung an LED light box for an overall ambience, that we could also color exactly as the city appears outside. Thanks to the latitude of the ALEXA and the speed of the lenses, Van Hoytema was able to use minimal lighting during filming: The high-speed 35mm and 50mm Zeiss lenses allowed Van Hoytema to get close when he went handheld for the more intimate scenes, whereas the coating-less lenses allowed him to capture beautiful flares and artifacts, giving the film that romantic, nostalgic-but-not-too-nostalgic look. He utilized coating-less Cooke lenses, high-speed Zeiss lenses, and Canon zoom lenses from the 1970s, one of which was a Swedish f2.8 20mm–110mm Canon zoom that was used on one of Ingmar Bergman's films. Van Hoytema used an array of glass that would allow him to capture the intimacy of the characters' relationship, as well as the physicality of light, something the cinematographer says was integral to the character Samantha's experiences of seeing things for the first time. We didn’t want to do a lot of augmenting in post, and with the Alexa we could use extremely low-level light sources that were still controllable. But we chose digital specifically for those night sequences in his apartment, where the city outside the windows is so vibrant and bright.
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I love everything about film, and I know exactly what I can achieve, texture- and feeling-wise. The filmmakers chose to go digital and used an ARRI ALEXA, a decision that Van Hoytema says helped shoot interiors because of its latitude. But the overall theme was a future that was soft and intimate.
#Her spike jonze analysis movie
As the movie progressed, we did add more color and more clearly designed elements. The images are pristine moments from everyday life - serene, feminine, and quite soulful. Barrett brought in a book by the Japanese photographer Rinko Kawauchi, whose work is mainly large format. set in the not so distant future - a "world that was tactile and pleasant: the very opposite of a dystopian future." In the ICG article, Van Hoytema explains: According to Van Hoytema, Jonze wanted an L.A. In an in-depth piece, the International Cinematographers Guild plunges head first into the beautifully lonely world of Her and asks Van Hoytema how he built it.Ĭreating the world of Her, meant creating something that resonated with the worlds inside protagonist Theodore Twombly's mind and heart. With such a great narrative, the visual storytelling should certainly echo its sentiments - a task given to cinematographer Hoyte Van Hoytema, who has worked on films such as Let the Right One In, The Fighter, and Tinker Tailer Soldier Spy. The film's story overflows with a certain humanity and honesty that may be expected from Jonze, but not as much from a contemporary love story. It seems as though people can't stop talking about Spike Jonze's newest movie Her - and rightfully so.
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