Your browser is out-of-date!

Update your browser to view this website correctly. Update my browser now


One or Two Things About ‘One & Two’

Moveablefeast‘s Stephen Saito interviewed cinematographer Andrew Droz Palermo about his directorial debut, One & Two, about two siblings (Mad Men’s Kiernan Shipka, Timothée Chalamet) who have supernatural powers. Take a look at some high points of the interview and the movie’s traler, below. 

Kiernan mentioned that you gave her a playlist and showed her some Andrew Wyeth paintings as inspiration for the mood. What were the influences?

For me, it’s a really great way to start a conversation that’s not “Hey, let’s watch all these movies together.” I really want to seek influence from as many places as I can. If I had my druthers, we would spend a month reading and watching the same things and going to museums. If nothing else, it’s a really great way to meet people and start to learn each other’s quirks and how to talk to each other. As far as the playlist stuff, I really write to music a lot, [typically] non-lyrical stuff — film scores, electronic music, or even pop songs. At one time, I was really trying to put pop song to a movie, but it never really worked out.

Was it difficult to find the right tone?

The writing process is largely based on imagery, and we found the tone very early. Achieving it was difficult at times, not that it was big in size, but it required some very specific production design, which Sarah [Beckum Jamieson] handled really really well. I wanted the film to be very fluid, and that’s expensive at a certain point, because you’re introducing steadicams and [camera] dollies, and we couldn’t afford that very often. Autumn was great about selecting the times when we would need a steadicam, which I think was only three times and I probably wanted it all over the place. Through music, imagery, and looking at paintings, it was all very clear what I wanted. I’m developing another film right now, and it’s in the early process of getting excited about different imagery, but remembering how it was with “One and Two,” I would just see a photo and be like, “oh my God, wouldn’t it be amazing to stage something around this lighting or this color?” That’s how it was born.