Cinematographer Sean Porter talks to Filmmaker Magazine about his work on Green Room, a thriller centering around a punk band who witnesses a murder after a gig only to then be held hostage. To shoot it, the production built a working set of the venue from within the warehouse so that most of the film was shot practically on-set.
“Once we knew it was going to be a build we didn’t want to treat it like a conventional studio set,” says Porter. “What that meant was even though [production designer Ryan Warren Smith] built us a lot of flyaway components to the set we rarely if ever used them. We didn’t cheat. So if we were shooting in the van, then the camera had to fit in the van with all the actors. If all of a sudden we had moved to a studio and clearly the camera was 25 feet back in order to get a three shot, there’s a falseness to that and I think that even though it might not be something that an audience consciously picks out, I think subconsciously it affects them. They feel the unreality of the environment.”
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