RussianDoll cinematographer Chris Teague discusses low-budget worldbuilding & his contributions to colorful Season 1 finale
) from his first read of the pilot script. Joining a creative team overflowing with ideas, the DP’s challenge withwas to achieve a kind of magic trick himself, bringing a dark, idiosyncratic and highly cinematic version of New York City to life on screen with little prep time and even less money.
Talking about what version of New York City we were creating informed a lot of what the look of the show would be—that it would feel like layers of the city, and the city itself is so layered. There’s such history there: these old buildings that have been remade over and over again; schools that have turned into lofts, that have been knocked over and then turned into condos.
One of the things we pursued in trying to bring a sense of magical realism or magic to the show was our lens choice—shooting with very fast lenses, wide open, so that our background could bloom and blur, and we can create these really painterly separations between foreground and background. That, mixed with saturated color, heightens that otherworldly feel that we were going for.
Practicals were of ultimate importance, and obviously the actors aren’t necessarily lit by the practicals in any active way. It’s more passive lighting, but what the practicals do is they motivated our sources. It is obviously a stage—it’s a built set—and the temptation and challenge with a stage set is, you can hang all the lights that you want from your grid and have light from overhead, but it just doesn’t feel like how that space should be lit.
Michael Bricker gives you a lot of the credit for Season 1’s memorable final sequence, suggesting that the tunnel location and idea for converging split screens both came from you. Can you explain what went into honing that sequence?That tunnel location was extremely difficult to find, and it was conceived in many different ways. Something just clicked when we were scouting that spot.
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