Camerimage: How Sean Baker and Cinematographer Drew Daniels Made ‘Anora’ “As Anti-Hollywood as Possible”

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As a film enthusiast with a particular fondness for indie cinema, I find myself deeply captivated by the collaborative efforts of Sean and the cinematographer on Anora. Their approach to storytelling, characterized by its simplicity and anti-Hollywood sensibilities, resonates with my own preferences and experiences in the world of filmmaking.

According to cinematographer Drew Daniels, when embarking on the project of making “Anora” alongside director Sean Baker, their objective was to create something as unconventional and distinct from Hollywood as they could.

Daniels remarks, “Sean and I share a common interest in movies that are independent, art-house, or from Europe – this is something deeply ingrained in us.” He further adds, “We’re both against the mainstream Hollywood style and prefer the unconventional, the unexpected.

In crafting his Palme d’Or-winning tale titled Anora, or Ani, Baker found inspiration in timeless European cinema pieces like Federico Fellini’s “Nights of Cabria” (1957). This film centers around a sex worker, portrayed by Mikey Madison, who develops a relationship with the son of a Russian oligarch (Mark Eydelshteyn), leading to calamitous events. However, the cinematic aesthetic of the movie, which was entirely captured on 35 mm film, bears a stronger resemblance to the suspenseful thrillers that were popular in 1970s New York City.

Before stepping into Poland’s prestigious Cameraimage film festival, dedicated to the craft of cinematography and showcasing modern world cinema gems like “Anora”, I had a chat with The Hollywood Reporter.

This is your second film with Sean Baker. How does his approach compare to other directors?

The first time I collaborated with Sean on the project “Red Rocket,” I had certain expectations about our working style due to his previous films. I assumed he would be more spontaneous and disorganized, given how informal and chaotic they appeared. However, upon working with him, I realized that Sean is quite meticulous and has a clear vision for his work. He’s particularly detail-oriented when it comes to “Anora.

He is very adamant about what’s in the frame — it’s almost a formalist, minimalist approach that I really enjoyed. You can see he edits his films himself. The amount of time we spent on set talking about the edit was very unusual for a director. He has a clear idea of what the edit will be, and what the next shot is. So it’s very formalist, but then there are times when we go crazy.

Is there an example from the shoot that exemplifies what you’re talking about?

Absolutely. In my opinion, there are instances in the film that demonstrate both methods I’d label as “highly structured/disorganized” and “precisely planned/meticulously executed.” The courtroom scene toward the end represents the former. It’s not characterized by quick, handheld shots or numerous angles, but we allow the actors to improvise within the frame, adding a sense of unpredictability. On the other hand, the home invasion sequence is more like a carefully choreographed dance – each shot follows the next in a precise sequence. We filmed it as if we were making a Hong Kong action movie, shooting scenes in the order they would appear in the final edit on set.

I’m aware that Sean has an extensive knowledge of films. By any chance, were you using specific movies as references while discussing with Anora?

We watched 1970s New York films that felt appropriate, like two films shot by Owen Roizman: The French Connection and The Taking of Pelham 1 2 3, which had these really unique, long takes. These films have a little bit of a handmade quality around the edges, and a bit of an attitude, which echoes Ani’s character — her scrappiness. I wanted the photography to have the same quality. So in the home invasion scene, for example, when we dolly along on the floor, if there’s a bump along the way, that’s ok. Sometimes I’d be focusing with my hand on the barrel, doing things physically like that. We used old Russian anamorphic lenses, which added a little haziness, a soft quality to the image.

Talk about the opening shot of the film, when we see Ani in the club. How did you set that up?

As a gamer, I can’t help but feel a thrill when recalling the perfect shot we stumbled upon during our scouting expedition at Brighton Beach’s strip club. The moment we ventured down that dimly lit hallway, a spark ignited within us – this was the opening shot we had been searching for. Positioning the camera just so, with mere inches to spare on either side, we slowly dolly along, capturing every detail. It was a magical instant, one that instantly drew me in to Ani’s world and established her as the film’s undeniable star.

We aimed to discreetly watch Madison working with clients, as if we were an unobtrusive observer. To achieve this, we carefully positioned ourselves and filmed multiple takes from different angles, ensuring a comprehensive view of her performance. Essentially, we allowed her to slip into character, manage the floor, and showcase the way the team functions.

What was the most complicated or difficult scene for you to shoot?

The most difficult aspect of this project was crafting the home invasion scene because it unfolds in real-time. The script spanned 28 to 30 pages, equating to a 28-minute sequence in the film, and maintaining the continuity of time proved to be quite a task. Given that the production was small with limited resources, I couldn’t manipulate the sun as I would have liked. Consequently, creating a consistent lighting and ambiance throughout became a significant challenge. We filmed for approximately 10 consecutive days, encountering every type of weather imaginable during this period. Shooting on cloudy days, rainy days, and when the sun was at its brightest, we had to make it all seem like a continuous 30-minute sequence over a single day. Despite giving the impression that we’re not using any lighting, there was a great deal of effort put into achieving that natural and unlit feel.

The choreography must have been a nightmare as well.

That scene was so complicated it was the only one we at least attempted to shotlist. We didn’t really do it, though. We spent a couple of days shotlisting, but we only really got through like three pages. So then we decided, to abandon that and just figure out the basic blocking, the shape of the scene, to get an idea of how it would start and how it would end, and how they’d move from one side of the house to the other.

Initially, our intention with the visuals was clear – we began quite intensely and tightly framed, gradually moving closer, but midway through, the scene changes, becoming more chaotic and handheld as Ani’s wedding ring is forcibly removed while she screams. It becomes wild and unpredictable. Later, when Ani is bound and negotiations ensue before they depart, the camera returns to a tight, heavy style. We had planned the broad strokes in advance, but most of the specific details were worked out on set with the actors.

How specific is Sean when it comes to individual shots and framings?

In our collaborative photography work, I often function as a detective to unearth Sean’s creative ideas regarding shots, techniques, or feelings. As we continue working together, communication becomes less necessary as our visions increasingly align. We develop an intuitive understanding of each project, allowing us to step onto a set without much discussion and simply capture the essence of the scene. On Anora, I wouldn’t dare incorporate a sweeping crane shot followed by an over-the-shoulder matching shot; such techniques don’t align with Sean’s filmmaking style. Instead, his approach is more earthbound, focusing on raw human emotions and utilizing minimalist coverage to tell the story effectively.

Generally speaking, we aim to film scenes without repeating shots unnecessarily. For example, the scene where Ani questions Ivan about his occupation and he humorously replies, “I’m an arms dealer.” This particular shot is composed of a wide shot, close-ups of her and him individually, followed by a two-shot. However, within these shots, we avoid cutting back and forth rapidly. Instead, we may stay in the close-up for about a minute before moving to the two-shot, then another minute or so in the two-shot, and finally transitioning to the other shot. This method of continuous cutting to new shots is preferred by Sean, as well as myself.

Sean generally prefers to approach scenes in a particular manner, although there are instances when this isn’t feasible, such as when there are numerous characters or extended scenes. However, when possible, I aim to emphasize this style by arranging blocking, shooting, and editing the scene accordingly. This technique is evident in the film ‘Red Rocket‘.

We share a strong inclination towards unconventional storytelling, much like what one might find outside of Hollywood. Our preferences lean towards independent, art-house, and European films. Therefore, the more we can avoid typical Hollywood tropes and create something fresh and unexpected, the more appealing it is to us.

Is there a specific scene or shot from the movie that isn’t especially noteworthy to others, but holds a special significance for you?

I don’t know if I have a favorite shot, but I definitely have a favorite scene. It’s close to the end when Ani is smoking a blunt and she passes it to Igor [Yuri Borisov] and they are just talking about their names and she calls him a faggot-ass bitch.

That particular scene is truly captivating, showcasing one of the movie’s most subtle yet impactful moments. Its simplicity and elegance are striking, offering a refreshing contrast after the movie’s intense sequences. The quiet interaction between the characters is both amusing and combative, with an undercurrent of flirtation that adds depth to their relationship. Despite the seemingly minimal elements – lighting, camera angles, and blocking – the scene is rich in meaning. It consists of only a few shots, perhaps five at most. I believe this scene marked a significant step forward for us, embodying maturity, confidence, and expertise in writing, filmmaking, and acting.

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2024-11-16 18:25