“I wanted the visual language to match the subjective reality of our protagonists — to match the delicacy and tenuous nature of a first great love,” Fray told IndieWire about “Port Authority. “We wanted the image to feel like wind hitting new skin, a pain but also a healing borne of newly exposing oneself. To create that we were interested in finding ways to be as raw and vulnerable with every aspect of the visual language as we could—imbuing that tension into every aspect of the photographic process (be that through the lenses, the lighting, the color, or the camera movement).”
“Malick wanted us to be explorers, able to shoot like a documentary crew, mostly with natural light,” Widmer told IndieWire. “We were always looking for backlight, for which we needed lightweight cameras with lenses, which could take a lot of contrast without flaring and with a huge range of latitude. The actors should be able to move quite freely and keep their energy. We prepared the cameras in a setup, which allowed us to change from steadicam to slider or handheld in less than a minute. The takes could last from four to 40 minutes without a break. In interiors, we switched to the low light camera to capture as much as possible of the dark interiors in the rural homes, stables and prison cells.”
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