On Honey Boy, cinematographer Natasha Braier found herself seeking two quite difficult forms of balance. On a visual level, the film needed to be both naturalistic and highly cinematic. In practica…
On a visual level, the film needed to be both naturalistic and highly cinematic. In practical terms, the DP needed to capture performance with the utmost intimacy, while giving her actors as much space and freedom as possible to grapple with material of extreme emotional intensity.reflects the actor’s turbulent experience of childhood, growing up with a physically and mentally abusive father, and the process he engaged in to grow through his pain.
For Braier, minimizing invasion of the actors’ space with the technical work she needs to do between takes has always been a priority. “But this set-up really forced me to take that approach to the extreme, and what I found was that it was facilitating the actors’ work so much,” she reflects.
At the same time, we didn’t want the lighting to be like a documentary. We wanted it to be expressive and to support the emotions of the characters, so the combination of those two worlds became the challenge, in a way—how to get cinematic lighting, but at the same time, give the actors 360-degree freedom to move in the space.
Then, in terms of the lights, I wanted to create a little bit of this kind of magical memory, as well. Even if it was a traumatic, hard time, to live in the motel with the father, it’s also like this memory of the time where they were the closest. So, there is also some love there, and some idealization of the relationship.
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