“The Little Mermaid”: Shooting Shirley

The Little Mermaid, an independent live-action take on the Hans Christian Andersen fairytale, is now showing in cinemas across the USA. To mark the release, over the next few weeks I’ll be posting a series of articles about my cinematography of the film, using extracts from the diary I kept during production.

In this first instalment I’ll focus on the “pre-shoot”, two days of capturing the present-day scenes, undertaken a few weeks before principal photography began. For these scenes, we were all very excited to be working with bona fide Hollywood royalty in the form of Shirley MacLaine. Since debuting in the 1955 Hitchcock comedy The Trouble with Harry (and winning a Golden Globe), Shirley’s career has taken in six Oscar nominations as well as a win for Terms of Endearment, plus an AFI Life Achievement Award, two Baftas, an Emmy and several more Golden Globes.

No pressure then….

 

Saturday

Shirley is installed at a five-star hotel in downtown Savannah for hair, make-up and wardrobe tests. Taking it easy at the studio, I get a call from the UPM telling me that Shirley wants to meet me. Nervously I transfer my lighting reference images (including screen grabs I gathered last week from her previous movies) to my iPad and await my car.

When I get to the hotel I bump into her and the rest of the crew in the hall. Plunging straight in, I shake her hand and introduce myself as “Neil Oseman, the DP”. Evidently not hearing that last bit, and presuming I’m a PA or possibly a fan, she looks me up and down and asks me who I am. I repeat that I am the director of photography. “You’re so young!” she exclaims, laughing at her mistake.

“Well, I’ve been doing this for fifteen years,” I reply, all too aware of how short my career is compared with hers.

“Which pictures? Tell me,” she says.

Again acutely aware that my credits list isn’t going to sound very impressive to her, I mention Heretiks, and Ren: The Girl with the Mark and mutter something about doing lots of features.

To my great relief she doesn’t press the point, instead asking what I think of the wig and make-up she’s wearing. I ask her to step into the daylight, and assure her that it looks good, but that I’d like to warm up her skin tone a little with the lighting, an idea she responds well to.

Satisfied, Shirley moves on to other things, and I hang out in a meeting room at the hotel drawing storyboards, until it’s time for a production meeting.

 

SUNDAY

The present-day scenes were shot on Arri Alexas using Zeiss Super Speed Mark I primes and an Angenieux Optimo zoom, diffused with Tiffen Soft FX filters.

I arrive on location before even the early crew call of 8am, with my gaffer Mike Horton. His and key grip Jason Batey’s teams have rigged a dark box around the beach house’s deck/balcony so we can shoot day-for-night interiors.

At 10am Shirley arrives, blocks the scene, then goes off to hair and makeup. We’re starting with close-ups of her, so the grip and electric teams come in and build a book light. (This is a V-shaped arrangement of bounce and diffusion material, resembling an open book, which greatly softens the light fired into it.) When we start to turn over and Shirley watches playback, I’m gratified to find she is very happy with how she looks on camera. We shoot out all her close-ups, then bring in the little girls playing opposite her and block the wide shots.

In the lefthand foreground here is the 2K source for the book light. In the top right you can see the diffusion frame it’s firing through, and you can just make out the poly or rag we attached to the wall to bounce the light back onto Shirley (in the white nightgown). The net in the upper centre is cutting some light off the background. The camera can just be seen on the right of the photo.

As time begins to crunch, I fall back on cross-backlighting as a quick no-brainer solution to get the wide shot looking good. It’s so important to have these lighting templates up your sleeve when the pressure’s on. (Later on in this blog series I’ll discuss the use of cross-backlighting in several other scenes in the movie.)

For a little while it looks like we might not make the day, but I suggest a way to maximise the beautiful beach view at twilight and get the story beats covered in one two-camera set-up. The shot feels like something out of a classic old movie. Shirley MacLaine walking off into the sunset! Everyone loves how it looks, including Shirley. The praise of an actor as experienced as her is high praise indeed, and it makes my day!

 

Monday

At the monitors with producer Rob Molloy. Photo: Brooks Patrick Allen

We start lighting for our “sunset” scene, which involves firing a pink-gelled 6K through the window and netting the background to get some highlight detail into it. Rather than a book light, this time I use a diffused 4×4 Kino Flo as Shirley’s key. I take a risk and place it further off to the side to get a bit more shape into the light.

Shirley enters, takes one glance at the lighting and remarks, “So, you like this cross-light, huh?”

Busted!

We compromise by adding a little fill from a reflector which Shirley positions herself before each take. Her awareness of how she’s being photographed is astounding. She knows more about lighting than some DPs I’ve met!

Looking at the scenes now, I realise that a large white horizontal reflector in front of Shirley would have been perfect to simulate bounce off the bed, which we moved out when we were shooting the close-ups. Hindsight is 20/20, but I’m still pleased with how it turned out.

Next week I’ll break down the huge lighting set-up required for the night exterior circus scenes.

“The Little Mermaid”: Shooting Shirley

5 Rebuffed Complaints About a Female Doctor Who

Reaction to Jodie Whittaker’s casting as the new Doctor pretty much broke the internet last month. While the majority appear to be in favour, a significant minority reacted with hostility.

At first glance, the haters did seem to have a reasonable point. The Doctor is a man, has always been a man, so it’s weird to regenerate them into a woman. After all, there are constants across every regeneration, different as it may be to its predecessors. For example, the Doctor always has a British accent. If the Doctor ever gained an American twang, there would be outrage; the Doctors’ Britishness is a fixed point of their ever-changing character. Is it so unreasonable for their gender to be another fixed point, something to anchor their character and reassure viewers that despite the new actor, this is still the Doctor you know and love?

But as soon as you start to think about it, this argument collapses completely. After all, Doctor Who‘s 54-year history is littered with contradictions and continuity errors. The majority of the episodes produced under Steven Moffatt were full of plot-holes, so to suggest that there is anything fixed, immutable and logical about the show is utterly ridiculous. It’s pure fantasy. Fantasy – that’s a key word that I’ll return to later.

Let’s consider some of the most common negative reactions that appeared online…

 

1. “It’s Not Doctor Who any more.”

People said that in 1966 when the Doctor first regenerated. They said it when he was exiled to Earth in the 70s. They said it when it got campy in the 80s. They said it when the American TV movie was made in 1996. They said it when Russell T. Davies resurrected the show in 2005. They said it when Tennant left in 2010. And now they’re saying it again.

Change, evolution, moving with the times – these are the reasons that Doctor Who is the longest-running sci-fi show on the planet. The world has changed enormously since William Hartnell first flickered onto the screen with his magic blue (grey) box. It’s the show’s ability to develop in step with the real world  that makes it a continued success. These changes are visible in the ever-improving VFX, the topical themes of the stories, the shifts in tone under new showrunners, and crucially through Who‘s groundbreaking concept of regeneration.

Doctor Who is change.

 

2. “We have lost an important male role model.”

I saw a post from a man who was angry and upset to lose what he saw as a crucial role model in his life. His argument was that male heroes are usually more physical and violent, whereas the Doctor’s more intelligent approach made him great for encouraging men into STEM (Science, Technology, Engineering, Maths) careers. Peter Davison, the fifth Doctor, expressed a similar concern.

But it is women who are under-represented in STEM industries, not men. And if you’re looking for other intelligent male role models, how about super-brainy Sherlock? Or engineering genius Tony “Iron Man” Stark? Or most of the Star Trek captains and science officers? Even if you reject every other film and TV show’s male heroes as not intellectual enough, you still have the other twelve Doctors. Can’t we let 50% of the population have one female Doctor in there to look up to?

 

3. “It’s a cynical move.”

It’s no secret that Doctor Who‘s ratings have been steadily declining in recent years, so some people have come to the conclusion that incoming showrunner Chris Chibnall cast a woman purely to generate controversy and draw attention to the show.

Undoubtedly Chibnall would have seen the press and social media interest as a bonus to casting a woman, but it can’t have been the sole or primary motivator. Chibnall is first and foremost a writer, and no writer would ever cast a lead actor to bring their character to life if they didn’t believe absolutely that that actor was right for the part. The first woman in the role is bound to attract a greater degree of scrutiny and criticism than another man when her episodes start screening, so if the show is to have a hope of impressing the critics then the Doctor has to be an excellent actor with an impeccable track record. And Whittaker is definitely that.

This move is far from cynical. It’s bold, refreshing and relevant, and for this fan at least it gives me more excitement about the next season than I have felt for some time.

 

4. “It’s political correctness gone mad.”

Political correctness has become a dirty phrase, but all it really means is being careful not to offend oppressed or minority groups unnecessarily. So to say that Whittaker’s casting is political correctness gone mad is to suggest that it’s placating people who have no valid complaint of oppression or under-representation.

Let me say it again: twelve of the thirteen Doctors are men. (Thirteen of fourteen if you count the War Doctor.) Only one is a woman. That’s less than 10%, compared with 50% of the population being female. That is the very definition of under-representation. And let’s not forget that Whittaker’s casting was announced after the men’s Wimbledon final, not the women’s, because we still live in a world where women, and all the things women do, are considered less important than their male counterparts.

Casting a female Doctor is not “political correctness gone mad”. It’s taking a small step towards correcting a huge imbalance.

 

5. “I won’t be watching any more.”

I suspect the men who wrote comments like this did not stop to consider the more limited choices their mothers, daughters and sisters have in this matter. If women threw their toys out of the pram every time a TV show or film came along with a male lead, they wouldn’t get much else done. Women have got used to watching stories led by the other gender; we men must learn to do the same.

To the people who still say, “but the Doctor is a man,” and suggest that casting female leads in new shows would be better than swapping the gender of an established character, you may be right. And when 50% of all big franchises have female leads there will be no need to do this kind of thing, but until then, it’s necessary. Until then, us men whining that we’ve lost something in this situation is like a millionaire crying because they dropped a penny down the drain.

 

Finally, let’s return to that keyword, fantasy. Because I think the most significant things about Whittaker’s casting are the kids in the playgrounds who will grow up with choice. The girls won’t always have to play the kidnapped princesses, or the love interests, or the companions, while the boys get the roles with agency; they can play Rey, or Wonder Woman, or the Doctor. That can only be beneficial to the future of our society.

5 Rebuffed Complaints About a Female Doctor Who