MOVIEMAKER.COM SUMMER 2019 33
EYE PIECE
Tech Box
cam for these shots, but we reconsidered and
ultimately decided to shoot almost all of our
camera movements with a Movi. It was also
important to me that I operate and frame
the film myself—not only to be exacting and
instinctive with my composition, but also to
be as close to, and connected with, our actors
as possible. I needed to be there with them,
to absorb their energy as it radiated through
their eyes and bodies, to capture all the inti-
mate nuances of performance.
Midway through Monos, the soldiers leave
their bunker and their story continues as
we move straight into the jungle. (The use
of this elliptical storytelling device at such
an important transitional moment in the
film was laid out in the script.) We designed
two long takes for this scene to be stitched
together with a wipe through a plastic sheetWOLFPACK: DP JASPER WOLF (C) AND
HIS CREWMEMBERS GEAR UP TO SHOOT
MONOS IN THE COLOMBIAN JUNGLEWATER POWER: MONOS’ VISUAL IMPACT
IS DERIVED FROM ITS AQUATIC SCENES’
SYMBOLIC POWER, SAYS WOLF“
IT WAS IMPORTANT TO ME
THAT I OPERATE AND FRAME
THE FILM MYSELF...
TO BE AS CLOSE TO, AND
CONNECTED WITH, OUR
ACTORS AS POSSIBLE.
I NEEDED TO BE THERE WITH
THEM, TO ABSORB THEIR
ENERGY AS IT RADIATED
THROUGH THEIR EYES AND
BODIES, TO CAPTURE ALL
THE INTIMATE NUANCES OF
PERFORMANCE.
”
Camera
ARRI Alexa
MiniAspect Ratio
1: 2.39 Cinema-
ScopeLenses
Hawk Vantage
One Lenses T1,
Angenieux Zoom
24-290mm T2.8Color Grading
Colorist Laurens
Orij @ Crabsalad,
DaVinci Resolve