00:02you know everyone's going we got to find the right hawk how do we know if he's going to land
00:05the wind is going to be 20 miles an hour he might have to train the hawk we have to
00:09train the hawk
00:10so there's a whole bunch of hubbub about the hawk but you know since it's film uh the hawk
00:18knew he had to perform hi i'm sam lemison the director of euphoria i'm morsel ref cinematographer
00:24of euphoria and you're watching deadlines the process
00:33our partnership it's been like almost 10 years now or something like that which is crazy and
00:39with the movie assassination nation and then we went into this world of euphoria which we've been
00:46the last seven years it was quite the ride so far we really trust each other and we
00:54both have a a similar sort of restlessness when it comes to how we want to work and our creativity
01:01so whatever we've done we're not interested in doing again season three which is we moved away
01:08from the more subjective emotionality of of seasons one and two where it was a lot of close-ups singles
01:16we wanted to be inside uh the characters heads and i think in this season we wanted to kind of
01:23take a
01:23step back we wanted the aspect ratio to be wider it's two two now instead of one eight five
01:28and we wanted to kind of you know experience these characters in this wider world
01:44that's funny this scene which is the opening of the show was a bit was a very different scene on
01:49the page on the page rue was like crossing a river and she gets sucked under and she's being you
01:57know
01:57she's sort of fighting through the water so that's what we were prepping as we were scouting and and
02:03you know talking to consultants from the dea we ended up going and visiting the dea headquarters in
02:09in los angeles and what's interesting is they have all these photos on the walls of like you know drug
02:15bust they've done and then i saw this one photo of a jeep stuck on top of a border wall
02:21i said
02:22to to one of the guys working there well what what happened here and they said well you know someone
02:27tried to drive a car loaded with drugs over the the mexican border and it got stuck and i thought
02:34well that's the kind of dumb idea rue would have and so from that you know i wrote it into
02:40the script
02:40and then it it just came down to figuring out how to how to give it its own kind of
02:45unique tension
02:46and also where we were going to shoot it we ended up building 200 feet of a border wall four
02:52hours
02:52outside of los angeles we had a five foot wall just for our close-ups and the horizon so yeah
02:58so this is
02:59our own euphoria mexican border wall yeah we shot this mostly on a big crane a telescoping crane and this
03:07is a really good display of this new codec stock with the blue skies and it's it's a daylight stock
03:13that renders these colors really well my reference for this scene was the first jurassic park movie
03:18yeah we were like thinking like how spielberg would shoot something like this yeah just how to build
03:24tension out of the the little details and the sounds of of the car and the creaking of it
03:31it was interesting because she was leaving the car behind and i thought well what happens to the car
03:36does it fall does it you know so for a while it was going to fall but then it was
03:41too expensive
03:42and so i thought well what if we had like a hawk of some sort comes and lands on this
03:48car
03:53and then it sort of teeters it back to being in balance this was like three days before we shot
03:58it
03:58so then we had to find you know everyone's going we got to find the right hawk how do we
04:02know if he's
04:03going to land the wind is going to be 20 miles an hour he might have to train the we
04:07have to train
04:08the hawk to do so it was a whole it was a there's a whole bunch of hubbub about the
04:12hawk but you know
04:14since it's film uh the hawk knew he had to perform i just i love this shot and we wanted
04:21to evoke a bit
04:22of the spirit of some of these older westerns you know rio bravo the wild bunch and also in a
04:28playful
04:28way you know so we add the kind of the little whip sound the you know as the title card
04:34comes up
04:35hawk did an amazing job
04:44you know she she's explaining to him that you know she believes that god brought them together and and
04:51he's sort of looking at her curiously and says you know you believe in god she says yeah he says
04:56well
04:56let's see if he believes in you they go outside and places an apple on her head and he walks
05:02you
05:03know very far away far enough that he could easily miss we knew what the scene was but it was
05:08about
05:09building it out in a way that had a certain kind of humor and suspense to it natasha our costume
05:16designer
05:16did such a fantastic job with the little scorpion on the boots and uh he's in his bathrobe you know
05:23we
05:24shot that out in in lancaster or palmdale um up on this this ridge we were very lucky to get
05:31the
05:31cityscape behind rue it was challenging to shoot because the wind can really kick up there and so
05:37i think the the night we were going to shoot it we had 40 mile an hour winds we had
05:42to bring all of
05:42our lights down then we were able to shoot like an hour or two and then we had to come
05:46back to it so
05:47we were kind of piecing it together this is one of those scenes that you can like stretch out forever
05:52and i think it's a challenge of like how long can we stretch this and obviously like old standoffs
05:58are like this in westerns and if you do it well you can really stretch it out
06:09how long can i keep this tension and i think for that you have to come up with shots so
06:14we have these
06:14shots of like starting on the gun wracking to his eyes starting on the apple dollying back booming
06:21down her head so like how you milk this moment and i think not just westerns but like i always
06:28was thinking about what's that hitchcock movie um family plot oh yeah yeah when they like cut the wire
06:35in the car and they start going down this winding road and they're having this conversation they're
06:40getting into a fight and like how long can you do this without like revealing that that the break
06:45the break is broken and i felt the same with this scene and she's terrific in that scene and in
06:50the
06:50script it was always this sort of flood of emotion that comes after she survives and it's that thing
06:56where suddenly you're you're relieved but then she starts laughing in such a kind of maniacal insane
07:04way that you're going uh oh this is this spells danger
07:20how's the food
07:24the scene of nate and cassie having having their candlelit dinner it was one of our longest uh scenes
07:30in the script we start to realize kind of how cunning cassie can be and it also kind of starts
07:37to reveal the the pressure and stress on on nate you know financially with his business if i'm not
07:43mistaken i i'm pretty sure you would just said i'd love to shoot this by candlelight yeah and it feels
07:49like a lot of candle in the frame but if you would have seen the candles we had off screen
07:56because we were like pretty strict about like let's not mimic candlelight let's just do real
08:00candles so we had like 200 candles on a table moving around to put it in the right spot for
08:06them
08:06to light the faces and so you know i thought well that's a great idea maybe we can just justify
08:12it as
08:12you know here she is she's trying to get what she wants she wants to be kind of internet famous
08:17make
08:18money and pay for this wedding and so she would set it up in a way that felt like she
08:22was trying to you
08:23know get what she wants so i have an idea i'm not spending fifty thousand dollars on floral arrangements
08:29will you just listen and so we've got those shots early on where nate's kind of looking around and
08:34he's a bit you know he's confused by all these candles sitting around and she's just got this big
08:41smile on her face when angus overdosed you know that that was uh uh i think a a shock to
08:50um
08:50um to a lot of us that idea that you can you can lose someone it became i think the
08:59the through line
09:01of this piece in the sense that life is precious that the moments we share with one another the way
09:08we treat people matters a big part of what this season is is uh is rue coming to understand the
09:15the
09:16third step in in narcotics anonymous which is made a decision to you know surrender our will and our
09:24life over the care of god as we understand them i think that's what this story is about i'm sam
09:29levinson i'm marcel rev and thank you for watching the process there were quite a few apples that that
09:35rolled off of her head we had to find the right the right apple with the right kind of bottom
09:41that could
09:41just sit there you know
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