Swiss Army Man cinematographer Larkin Seiple speaks to Filmmaker Magazine about the 25-day shooting schedule of the quirky comedy, about a magical farting corpse (Daniel Radcliffe) who helps a castaway (Paul Dano) to safety.
One particularly challenging scene to shoot was the film’s opening sequence, in which Dano is riding Radcliife across the ocean like a boogie board, as his flatulence propels them forward. “That scene was bananas to shoot and shooting in the ocean is very frustrating,” says Seiple. “Everything is always drifting or changing with the current so we figured the best solution was to shoot on a zoom, on a crane, with a remote head so we could literally swing the camera anywhere we had to. We barely got all the shots. We grabbed the last one at dusk and there was a very beautiful sunset but it lit the water with oranges and pinks so in post we had to color grade the crap out of it and force blue back into the water. That was a very challenging scene to shoot/grade because it goes from hard sunlight to soft sunlight to sunset and we had to make that all feel like it takes place at the same time.”
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