"Our initial conversation was about how to create a visual personification of 1980 New York City. How do you break the idea of this city that is under economic duress and nestled in urban blight by showing the undercurrent of elegance?" says the cinematographer.
In conversations about the look of the show, the production team realized the necessity of adopting distinct thematic elements to represent each time period, helping the audience navigate the nonlinear storytelling method.
“Moving backward and forward in time and making that clear but seamless for an audience was a real challenge," Goldenberg says of the film's three different time periods.
Among URSA’s many outstanding features, one of the more significant is that it’s user-upgradeable.
"It’s very corny but I’m proud of every shot in the movie," Bélanger says.