describes it. From the camera angles to the lighting and colors, even the technology used, all added to the tensions of that scene.
The subway scene was all handheld. In part, it’s also one of those transitional scenes in which Joker and Arthur are by himself. There are scenes where he’s with a lot of people. This is one of those scenes similar to his interaction with Thomas Wayne in the bathroom which is seemingly one on one. In this case, it’s one on three.
It was all shot single camera. Our camera operator Geoffrey Haley is one of the best in the world and he was on the train by himself with the actors. On the stage, we could have the subway stop at platforms, we could leave platforms and it could pass through different environments that would allow the lighting to change.
The subway cars were dirty, and so we had a lot of green spike in them. The look was motivated by the authenticity of what the subway cars looked like and photographed like back in the day. You can color-correct out the green spike, but we liked the dirtiness of Gotham City to always be present. We used a lot of uncorrected cool white fluorescent which is that cyan that you sometimes see in the kitchen and other places. This was meant to replicate a warm white, so it’s a bit of a yellow-green.
Who gives a shit. Let Hollywood burn
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