I mean, the whole experience of making the movie was a fairytale. What were some of the challenges that came with putting this scene together?īrooks: “96,000” was probably one of the biggest challenges of the movie. It just really was a feeling that I was trying to evoke through the camera.īTL: When I watched the film in mid-May, I felt that “96,000” was one of the stand-out set pieces. My look book for this movie, where I pull hundreds and hundreds of images, is probably the largest of any movie I’ve done. There wasn’t a specific movie that we watched and went, “Oh, we want In the Heights to look like that.” We definitely collaged and brainstormed-we really did collage. I found lots of people on Instagram who lived in Washington Heights, and I would look at their photographs and then I would take my own pictures as well. I love looking at local artists’ work whenever I go to different parts of the country or different parts of the world to film. I also took a lot of my own stills while scouting and the biggest influence visually for the movie was the community itself. What I did look at were classic New York movies and that was an inspiration to me. I think the most recent film I watched was probably made in the late ‘80s or probably early ‘90s. I think that a big part of my choice was instinct.īTL: In terms of the lighting, were there any films that were studied as far as the look is concerned?īrooks: I made a conscious effort not to watch any musicals while we were prepping.
I instinctually started to get a sense of the space and at the same time was testing cameras. I just started to fall in love with the place and at the same time, I’d be testing cameras. It all sort of worked together, because when I arrived in Washington Heights in March 2019, we’d go to Washington Heights in the morning and we would scout. That, with the combination of their anamorphic lenses, really, I felt was the right choice for the look of In the Heights. I’ve had a very long standing relationship with Panavision, and I tested Alexas and the Panavision DSL. I went to many of the rental houses and tested different things. When I knew Jon was going to do a musical and that it was going to be in New York, where I grew up, I knew immediately I wanted to be a part of that.īTL: How did you come to a decision on which camera to use?īrooks: I tested lots of cameras over the course of prep. I was very aware of the project and when Jon Chu became attached to it-Jon and I went to USC film school together and we did a short musical in college called When The Kids Are Away. Below the Line: How familiar were you with the stage musical before signing onto the film?Īlice Brooks: Before signing on to the film, I had wanted to shoot this movie for years before being signed on to the film, but I had never seen the stage show on Broadway at all.
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