Learn how TheLighthouse cinematographer Jarin Blaschke attempts “to eliminate the superfluous” grabbed the attention of the Academy, earning the film its only Oscars nomination
The startling black-and-white cinematography of “The Lighthouse” struck a chord with the Academy, resulting in Blaschke’s first nom after 20 years of work in the independent film scene. Having previously collaborated with director Robert Eggers on their acclaimed horror film “The Witch,” the duo went to new lengths in psychological terror with “The Lighthouse,” with Blaschke relying on off-kilter angles to induce viewer anxiety.
“We had a much longer pre-production process with an extensive rehearsal schedule where we fully worked out all of the logistics before it came time for shooting,” he says. For his groundbreaking work on “1917,” Deakins has snagged the cinematography award from the Online Film Critics Society and nominations from the ASC and BAFTA.
“The entire film was inspired by the look of still photography from the past, and we used a Kodachrome color palette for the scenes in the ’50s, and went with an Ektachrome look for the stuff in the ’60s,” Prieto says. “I also used the ENR printing process to create an image with less color saturation and higher amounts of contrast and grain.
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