outlined a visual grammar that included sparse but moody sets designed to accommodate the camera.
Motivating the designs was a rich monochromatic palette where Dechant digitally drew the sets during prep to better understand what visually worked before the art department built the physical pieces for the soundstage. “After the decision was made to shoot black and white, everything which was an obstruction to the dialogue was avoided,” says Delbonnel, a five-time Oscar-nominee.
. One of the first images we see of Macbeth is him walking through a foggy field and it stops on an extreme closeup of his face. “We wanted something really strong here,” says Delbonnel. “He’s coming to you as the audience and we end up on this big closeup as kind of a statement. It’s why we chose the Academy format since a closeup fills the frame.”
Production shot for 35 days in Los Angeles, where Coen devised detailed shot lists for scenes. “Joel is an amazing director and has his own language,” Delbonnel says. “Everything is storyboarded and he doesn’t do coverage. Scenes were built around specific lines and closeups because if the line was important, he didn’t want to lose it.” One of those essential moments takes place in the bell tower at night where Lord and Lady Macbeth discuss their future plans.
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