Welcome to the Blog

The Cinematography Podcast Episode 309: Scott Siracusano

The Hulu original horror film, Control Freak, plunges audiences into the unraveling world of Val (Kelly Marie Tran), a motivational speaker tormented by an unrelenting itch on the back of her head. Is it a manifestation of her own mind, or is she falling prey to a parasitic demon from her homeland? Control Freak is a body horror film that delves deep into themes of control, perfectionism, mental health, and generational trauma.

Cinematographer Scott Siracusano has known Control Freak writer and director Shal Ngo since 2019. The two made a short, The Box, which went to the prestigious Cameraimage Film Festival in Poland. Their creative partnership continued on another short film, Control, for season two of Hulu’s Bite Size Halloween. When Ngo was invited to expand Control into a feature-length film, Control Freak was conceived. Scott was captivated by the script and eager for the creative challenges it presented. Unfortunately, the film hit several roadblocks and delays before shooting was finally greenlit by the network. As a first-time feature DP, Scott had to meet with producers and pitch himself as the best cinematographer for the film. Championed by Ngo, Scott meticulously prepared a lookbook and presented his scene-by-scene shooting strategy in an hour-long meeting, ultimately securing his role as the film’s cinematographer.

One of the most significant cinematographic challenges on Control Freak was executing its underwater sequences. Due to a limited budget, there wasn’t enough time or money to shoot the actors in real tanks of water. Scott chose to use dry for wet film techniques, where smoke, specialized filters, and dynamic lighting effects are skillfully combined to simulate an underwater environment. Inspiration for this approach came from Dan Laustsen’s masterful work in The Shape of Water. “What I realized is that it is truly a less is more situation,” Scott says. “We need to have the caustics of water and moving lights that you would feel on your subject in tandem with atmosphere, and particles that could be added as effects. I was like, ‘I think we could pull this off. I think we could actually do this.’” The biggest concern was creating realistic hair and body movement floating in water, so the actors’ hair was tied back for these scenes. The production team found a music performance space where they could build a wire rig, enabling the actors to “float.” For close ups, Scott found simply having the actors sit and move around on a yoga ball effectively created a floating effect. Two projectors helped simulate water patterns, and the room was filled with atmospheric haze. Subtle fill light and slight camera movements completed the effect. Ultimately, these practical in-camera effects were so successful that the film required minimal visual effects for its underwater scenes.

The lighting and color palette of Control Freak were crucial in establishing a claustrophobic atmosphere and exploring the film’s central duality between sanity and madness. “We really wanted to lean into the surrealism and the dreamlike state of everything,” explains Scott. “Moonlight definitely allowed us a little bit more shaping, and being able to hide the monster. I really wanted to have rich, detailed shadows that were never true black—always some detail, no matter how dark the shadows.” Val’s house was intentionally kept as an enclosed space, with curtains constantly drawn, immersing the audience in her confinement and heightening their sense of being trapped alongside her.

As a horror fan himself, Scott loved creating the look and feel of Control Freak. “It’s so cool and fun being on set, in the actual world with the creature there.” His takeaways from lensing his first feature included the importance of faithfully executing the director’s vision while remaining adaptable to the unpredictable nature of filmmaking. “Going into a feature, you do everything you can to prep, but you know, just understand that things aren’t always going to go according to plan, there’s going to be happy accidents, there’s going to be things that are just straight up accidents.”

Find Scott Siracusano: https://scottsiracusano.com/
Instagram: @scott_siracusano

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/
Sponsored by Aputure: https://aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Blue Sky: @thecinepod.bsky.social