As a filmmaker who has had the privilege of working alongside some incredible talents, I must say that Halyna Hutchins was one of the most exceptional individuals I have ever met. Her passion for storytelling and her dedication to her craft were unparalleled, and it was an honor to collaborate with her on “Rust.
Three years following the heartbreaking, on-set fatal shooting of cinematographer Halyna Hutchins, Alec Baldwin’s independent Western movie titled “Rust” was debuted to the public for the first time on a Wednesday at Poland’s Camerimage Film Festival. The film garnered praise from an encouraging audience at this well-regarded industry event that is known for showcasing the art of cinematography in particular.
Before the screening, Joel Souza, director of Rust, and Bianca Cline, who took over cinematography after a legal dispute was resolved, spoke extensively with The Hollywood Reporter about their journey back to set nearly 18 months after the accident to finish the movie. At the premiere in Poland, members of the Rust team and one of Hutchins’ fellow filmmakers delivered heartfelt speeches, explaining that they persevered in completing the film because the potential box office success would help support Hutchins’ widower and son financially.
The story “Rust” revolves around a 13-year-old boy named Patrick Scott McDermott (the protagonist), who unintentionally ends a rancher’s life in the late 1800s Wyoming wilderness. To escape the consequences, he flees with his grandfather, portrayed by Alec Baldwin as Harland Rust.
The Hollywood Reporter had a conversation with Souza during Camerimage in Toruń, Poland, where they discussed initial responses to “Rust” and his most cherished cinematographic moment crafted alongside his late creative partner.
How are you feeling now that the film is finally meeting an audience?
There’s a palpable sense of release, considering how much effort has gone into this. I find myself echoing the words from “Streets of Fire,” as they perfectly encapsulate my feelings: “Are we going to act, or are we just going to talk about it?” It seems like that’s been our situation for quite some time now, but it’s gratifying to see it finally out there, standing independently on its own merits, distinct from other things.
Upon starting the movie, two aspects immediately caught my attention. Firstly, the cinematography stood out as exceptionally unique and skillfully done. Can you elaborate on the style or visual language that Halyna created?
In my previous projects, I’ve often created detailed storyboards which unfortunately didn’t foster a very satisfying collaboration with my cinematographers. I desired a more interactive and dynamic approach for this film. When I initially encountered Halyna, we both agreed on this collaborative spirit. The anamorphic aesthetic, emphasizing intricate foreground/background compositions, was something that greatly appealed to Halyna. We were also drawn to creating Western-style tableaus – not overly focusing on the movement of the frame, but rather composing visually stunning imagery. We frequently discussed films like “Days of Heaven”, “There Will Be Blood”, “No Country for Old Men” and “Heaven’s Gate”. Halyna’s portfolio was brimming with photographs and paintings, showcasing the insignificance of a figure in contrast to the grandeur of nature.
After Bianca joined us, we carried on with what we had started. Although they were distinct individuals, they shared similar artistic instincts. Therefore, I was able to discuss with Bianca the ideas Halyna and I had developed. Bianca thoroughly studied Halyna’s work, not only on Rust, but also all her previous projects. She wasn’t imitating Halyna directly, rather they both possessed a similar visual aesthetic. Everything seemed to fit together harmoniously if you catch my drift. In the end, I believe we achieved a unified visual style. It was as if they had collaborated on a project despite being a year and a half apart in different states. Bianca put immense pressure on herself, but in the end, she delivered admirably.
I found the contrast between the lights and shadows in the landscapes extremely attractive, as they often appeared slightly beyond twilight – creating a constant, enchanting twilight over the land.
As a gamer, I can’t help but notice the deliberate design choices made in this game. The creators clearly had a deep fascination with silhouettes, and they’ve masterfully utilized them throughout this production. With the striking contrast between light and dark, they’ve aimed to craft an exaggerated reality, making the way light behaves seem almost magical. Every window, at every hour of the game, seems to radiate sunlight. Toward the end, there was a scene that made me exclaim, “Time to Tony Scott this up!” And boy, did they ever deliver on that.
Frankly speaking, from the very start of the film, I found it quite uncomfortable and disconcerting to see the characters handling firearms.
I get your point. It’s an intriguing query! You’re right, this is a Western movie, and it depicts life in the old West – a genre we’re familiar with. However, I comprehend that nowadays, such a theme might seem peculiar. It’ll be fascinating to observe how audiences respond to that unique element.
After my personal encounter, the sensation faded eventually. To put it simply, just as we get absorbed in a film’s narrative, I too found myself immersed in the tale, and that eventuality came to pass.
Indeed, crafting a Western film has been quite challenging for me to grasp, but we had already filmed half of the movie before taking a break, and upon returning, it still held the same narrative. In my personal life, I’m strongly against guns; I’ve always felt uncomfortable around them. I hope this sentiment is conveyed in the film, as it was one of my primary intentions. The central element of our story is an old rifle that has been passed down through multiple generations within a family, and each time it has been picked up, it has led to destruction. It’s essential for me that viewers understand this – the devastating consequences of violence are like the ripples from a stone thrown in water; they continue forever. Even four generations later, people are still suffering the repercussions of actions they didn’t even take part in. However, to effectively tell this story within the Western genre, certain tools – including guns – are necessary.
Considering the eerie, unsettling sensation I felt merely as a spectator, I can barely fathom the experience for you, returning to set and having to request your performers to handle replica firearms once more.
In my past, I’ve handled guns, but they weren’t part of my upbringing. The mere act of gripping such an object is intimidating to me. During our second production phase, we were fortunate enough to have a fantastic armorer on set. We used only prop guns that were essentially harmless and inactive. However, our armorer handled everything with utmost care as if they were real – a necessary precaution for safety. The initial moments were quite significant for everyone. As time passed, we adapted to the rhythm of filmmaking. Actors got accustomed to it, but I’m sure it was a big deal for everyone at the start.
Have you discussed with Alec Baldwin the situation where he had to resume portraying a character armed with a weapon?
It’s quite possible we discussed this matter before. Regrettably, I can’t recall the details of our discussions. However, I am absolutely certain that his action was troubling for him, and it likely held significant importance or impact for him.
How did it feel working with actors again, given that their characters have experienced tragedy and carry significant emotional baggage throughout the story? It’s only normal to ponder how their personal experiences might influence their acting when we began shooting the second part of the movie.
It wasn’t initially planned for Patrick McDermott, who portrays young Lucas, to be part of our first production. You see, when actors are teenagers, they mature quickly and their voices change significantly. Additionally, scheduling conflicts arose. So, we had to adapt and recast that role. Fortunately, Patrick didn’t bring any prior complications with him, but he was aware of the situation, as were his family. To ensure everyone felt at ease, there was much discussion about creating a comfortable environment. We certainly made efforts to prevent him from feeling burdened by the past events.
Among the actors I admire greatly include Devon Werkheiser and Josh Hopkins, not only for their exceptional acting skills but also as individuals. Their performances in this film seemed even more impactful to me. Particularly, Josh Hopkins, who portrayed the Marshall, delivered a career-best performance in this movie. It’s exciting to see him showcase his dramatic talents, as he has primarily been known for comedies until now. In this film, however, he took on a more serious role that truly showcased his versatility and talent.
Indeed, upon everyone’s return, a sense of deep emotion emerged that hadn’t been present earlier. We didn’t want to explore this feeling too deeply during filming, as it would have led to tears all around. However, it was undeniably there – you could see it in their eyes. It was hard to ignore, truthfully.
Did you notice a change in your star, Alec Baldwin’s approach to his performance?
He had a hard time, indeed. It seemed like he was dealing with personal issues the entire time. I can barely fathom the challenges he faced. Yet, we made it through together.
What are you most hoping for now?
If someone chooses not to watch this movie, it’s completely fine and there are no harsh feelings involved. However, I genuinely hope they consider giving it a try. The visual aspects, especially the cinematography, are particularly noteworthy as they offer a unique perspective – one that reflects how our late colleague, Halyna, saw the world. The fact that so many people returned to complete this film in her memory speaks volumes about her impact. It was a challenging and emotionally heavy situation, but they felt compelled to finish it for her. Unfortunately, many in our industry only learned about Halyna after the tragic event. I believe that’s unfortunate. If you watch the movie, you’ll get a glimpse into her artistic vision and learn more about the person she was. This is what I hope most from this experience.
Do you have a favorite sequence that Halyna created for Rust?
Among several shots, one particular horse riding scene stands out as exceptionally beautiful. However, there’s another scene that I hold dear, which features Frances Fisher’s character entering a town and speaking to local authorities in a courtroom. The scene is captivating as she’s silhouetted in the doorway, with a prolonged, slow-moving shot lasting approximately a minute of dialogue. The actors are strategically placed at varying distances, creating a stunning, impactful image. Interestingly, this wasn’t part of our initial plan due to terrible weather conditions and delays. Instead, my cinematographer, Halyna, and I improvised on the spot, deciding to execute the sequence in a single take. This unplanned move sparked excitement among the camera team as we were attempting something innovative. To our relief, it worked flawlessly, leaving us feeling exhilarated. Afterwards, Halyna and I shared a moment of joy, almost skipping off to the next setup because we were so thrilled with how it turned out. This scene will forever hold a special place in my heart as my favorite shot in the movie.
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2024-11-22 15:55