RaMell Ross Reveals Why ‘Nickel Boys’ Is Filmed in a Radical Way

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The movie “Nickel Boys” serves as a testament to the power of storytelling within cinema. Drawing inspiration from the Pulitzer Prize-winning novel “The Nickel Boys,” it delves into the grim truths of the Dozier School, a notoriously abusive reform school that existed in the Jim Crow era South. The narrative itself is deeply affecting, to put it mildly. Director RaMell Ross utilized his expertise in photography and documentary filmmaking to come up with unique, thought-provoking methods to immerse viewers in this chilling tale of history.

We inquired about the reasons behind his unique and daring decisions such as employing lengthy, continuous shots or ‘oners’, opting for a 4:3 aspect ratio, capturing the whole narrative from a character’s perspective, among other things. Ross elaborated on:

If it’s consistently filled with purpose, it can still appear justified, even if it fails to deliver something extraordinary. The camera angles, long takes, 4:3 aspect ratio, all stem from an attempt to create a perspective and an experience that revolves around and addresses consciousness. The camera, focus, and the connection between people of color and cinema and cameras are all elements of this endeavor.

These decisions weren’t mere illusions; many film masters have used similar strategies for diverse purposes, yet seldom combined them so daringly. For Ross, these choices reflected his unique approach to designing the viewer’s experience in every aspect.

As a film enthusiast who’s immersed in countless movies and visual content, I can personally attest that my experiences (or frustrations) have led me to this observation. The 4:3 aspect ratio, historically associated with television, was the format where the global imagery distribution by the industry began. It also represents a focused or “narrowed” perspective, which I found to be an intriguing method for directing one’s attention effectively.

Observational Logic & ‘Audience Time’

Ross started calling this method ‘experiential reasoning’, where he utilized every tool at his disposal to create an immersive experience for the viewers, placing them directly within the moment.

Using short depth of field and lenses from the 50s and 80s encourages a viewer to perceive things as you do. I began referring to this approach as “observational logic,” which is distinct from traditional observation. Additionally, I prefer framing at 810 because it suits my photography style and seamlessly blends with archival footage when editing.

One-shot sequences, a common cinematic element, have been a signature technique for many renowned filmmakers, from Orson Welles’ “Touch of Evil” to Martin Scorsese’s use of the Steadicam in “Goodfellas,” and have been extensively utilized by directors like Paul Thomas Anderson, Robert Altman. Long uninterrupted takes such as those seen in films like “Russian Ark” and “Victoria” are a hallmark of filmmaking greats. Ross, however, employs this technique uniquely, driven by the belief that on-screen time should mirror the audience’s experience of time. As he puts it, “The one-shots were non-negotiable for me because they ensured that the viewer’s perception of time matched that of the characters, making it a more personal, first-person experience.

On the Immersive Sound Design of ‘Nickel Boys’

In the realm of filmmaking, cinema is a blend of visual and auditory artistry. When crafting the emotional journey of “Nickel Boys“, director RaMell Ross didn’t just focus on imagery; he also masterfully designed the audio landscape. This sound design is intricate, contemporary, and distinctively original, drawing inspiration from one of the pioneers in sound innovation, Robert Altman. As a testament to their friendship, “Nickel Boys” producer Jocelyn Barnes has been a close ally to Ross, and together they have collaborated across various artistic mediums. In an interview, Ross discussed how his experience of watching Altman’s groundbreaking film “Nashville” influenced the development of “Nickel Boys“‘s unique sound design.

She introduced me to Nashville, which significantly expanded my perspective on how sound isn’t just something heard outside a screen, but it can be intertwined with one’s own consciousness. I don’t believe that consciousness equates to reality. Instead, I think of consciousness as a unique cinematic experience within the mind. It is an unusual, personal relationship between visuals and sounds and other elements. As such, I am consistently seeking to capture the dream or the consciousness in a film, both in its creation and during viewing.

In my own words, I would say: “As a supporter, I joined Ross in praising Lucrezia Martel’s La Ciénaga for its innovative use of sound design. To fully harness this opportunity, he relied on his talented team, asking Scott Alario and Alex Somers to bring their unique, asymmetrical, gritty style into play. Moreover, our sound designers, Dan Timmons and Tony Valente, displayed their magical skills by using advanced spatial technology to position sounds in a three-dimensional space. This was something I hadn’t realized before, but on the screen, it creates an immersive experience as if I could place [a specific sound] eight feet into the scene. It’s remarkable that this level of depth has only become possible in recent years.

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2025-01-09 16:02