Selena Gomez, Martin Short and Steve Martin are about to solve another murder in the building, in a self-deprecating joke.
The first season of Only Murders in the Building is encapsulated in a warm, captivating visual language. The cinematographer, Chris Teague, has channeled his own comedic aesthetic into a murder mystery. He’s no stranger to finding lightness in New York, in Landline (Amazon), Russian Doll (Netflix) and The Clear Child (A24). One note that there will be some revelations ahead.
For Part 2 of Murders Only in the Building, Teague had two obstacles to overcome. He needed to build the character of the “Arconia” building and he also needed to direct part of the series. No small feat.
Soon to be prepared
Teague was the original cinematographer from the start. He helped introduce images for the show, taking test shots with other department heads. All while COVID is in production from 2020. Time-saving techniques will need to be employed to avoid sacrificing creative vision. Shooting with two cameras helped make this possible, as well as capturing moments of organic humor.
“Crossshots come with experience on set,” he mentioned. The gaffer knows the limits of his team, and so they won’t need to completely reset the lighting just to test a different lens or angle.
Having previously worked with Jamie Babbit on Russian Doll and received his first AC Timothy Trotman from the same production, Teague was well positioned to jump on this project. Feeling comfortable means directing two episodes by yourself doesn’t seem overwhelming.
The need to show the show’s face before production forced Teague and his colleagues “to really distill our ideas into a clear, unified format. More creative conversations than blue skies occurred at the time. When you get started, it becomes a bit more about execution. “
Making brutal murders funny
Trying to play New York murder mystery games against comedy stunts is not an easy task. To the series’ credit, it never takes itself so seriously that the comedy feels out of place. For Teague, coming to a second season means he needs to expand his library of references and emotions.
“I wanted an image that looked natural,” I was told. “I like texture in images, I like grain, I like anomalies in optics. A lot of the styles we’re seeing today are an interesting mix of what an amazingly modern camera can give you with some aesthetics and a feel of something from another era”.
Both seasons were filmed with Sony’s Venice (Unfortunately, Venice 2 came out too late). Full frame Leitz cine glasses were used, both prime and zoom. The Main 21mm as wide as everything was. Interestingly, part of using the wide angle has been handheld.
The extended visual language extends to dementia and self-doubt, which is the second part. “We use handheld photography to signal subjectivity. This is a memory. Did it really happen? “
Most of the footage is locked, either on dolly, or with limited use instead. “With memories, we do a lot of hand work. It’s interesting because when you’re in a dolly frame, you have to recalibrate your mind.” He explained. The challenge became about “how to make it feel portable and enjoyable, but not jerky and draw attention to itself.”
“You have to work with the camera to block a bit, so that you create the dynamism and energy with the handheld shot you’re looking for. If there’s not enough movement in the scene, you won’t notice that there’s a change in the language. “Of course, Teague credits the great camera operators who joined the team, however, it is his references and ideas that give the depth.
The show is always “going back to another era of filmmaking” and relies on its references. The highlights in the film, the angles from the footage of Orson Wells. Teague points out that the handheld work in Only Killers in the Building has a similar feel to the uncomfortable cinematography found in “Second. “Try to help the audience feel as if the character doesn’t quite know themselves.
Direct on a set you know
“As I entered the season, I paid more attention to how the directors who came before me worked with the performers,” Teague noted. “Just to be clear to us, Dagmar Weaver-Madsen did the filming while I was directing. “
I think it was a smart decision to let Teague direct the episodes that he did. In particular, one episode takes place during a power outage in New York. Some scenes are fully illuminated by flashlights. Actors need to use light to track the dynamics of the shot.
“When you’re a DP on a show, you never stop working. As a director, you can have these downtimes while waiting for the lighting tweaks and camera setup. I’m not used to DP waiting moments,” he laughs. During the setup, he was of course focused and “trying to anticipate problems”.
As the show’s chief visual officer, Teague is quite confident and comfortable when it comes to changing shots, cropping things up, and finding opportunities. “Harder for a visiting director. They’re coming to a set, into a new environment, and probably won’t have much experience working with these actors, editors or writers.”
The season finale for Just Killers in the Building premieres this week, on Hulu (and Disney+ internationally). If you watch it, hopefully you will recognize the artistry in the cinematography.
