Cinematographer Jarin Blaschke kept the lighting realistic to ground the ominous wildness of 'The Lighthouse.'
From the first frame of director Robert Eggers’ “The Lighthouse,” you find yourself immersed in something different. Something you can’t quite put your finger on yet, but your eyes blossom as you slowly sink into your seat.
To conjure up its ominous visual style, cinematographer Jarin Blaschke, who’s collaborated with Eggers on several short films and the director’s first feature, 2015’s “The Witch,” layered black-and-white film with historically accurate motifs. Since motion picture orthochromatic film is no longer available, the cinematographer combined black-and-white Eastman Double-X 5222 panchromatic negative and a custom short pass filter designed by Schneider Optics to detail the visual style.
To block scenes, Blaschke notes he and Eggers blended ideas and preferred to introduce the geography of the space early on. The opening sequence illustrates that notion, as Efraim watches the ship that dropped them off sail away in the distance and then the camera follows him into the cottage and up the stairs into the sleeping quarters. “Once you show the audience the space, you can do whatever you want. It really helps to make sense of it all visually,” adds Blaschke.
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