October 12, 2022

Charlie Sarroff, cinematographer of the horror films Smile and Relic

Cinematographer Charlie Sarroff loves to shoot horror movies, and he knew when he read the script for the horror film, Smile, that it would be fun, gory and dark. This week (10/12/2022) Smile is still the number one movie in America, with the biggest opening of September and the highest box office take overall for its second straight week. Charlie and Smile director Parker Finn first met at a SXSW event, where each had movies showing at the festival. They found they had similar tastes and sensibilities. Finn loved Charlie’s previous work on the horror film Relic and asked Charlie to be Smile’s cinematographer. Movies such as The Ring, It Follows and Rosemary’s Baby were big influences on their approach to Smile. Charlie chose to build a sense of suspense with camera movement, so the audience feels as though a lurking presence was there at all times. They almost exclusively used wide lenses and no over the shoulder shots so that the character of Rose would always feel isolated. Every scene Rose is in, she is meant to feel disconnected from other people. Smiles were also a big motif in the film, of course, and served as a metaphor for the masks everyone wears.

As a kid, Charlie really loved skateboarding and video production became a big part of it. He had a camcorder and recorded skate videos of his friends. Charlie knew early on that he enjoyed shooting and editing more than directing, and he decided to go to film school in Melbourne. Friends in film school asked him to shoot their movies and he worked his way up, filming music videos and commercials. Charlie’s biggest break came when director Natalie Erika James asked him to shoot her short film Creswick which she expanded into the feature film Relic and was picked up by IFC. At first, the film’s backers wanted to go with someone more experienced to shoot Relic, but Charlie prevailed and the film ended up going to Sundance and SXSW.

Find Charlie Sarroff: https://charliesarroff.com/
Instagram: @charlie_sarroff

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep187/

Sponsored by Arri: https://www.arri.com/en
Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

March 16, 2022

Director Mariama Diallo and cinematographer Charlotte Hornsby on the horror film Master

The horror film Master explores the idea of institutional and historic racism at an elite, mostly white college campus, as two Black women are stalked by evil spirits. Director and screenwriter Mariama Diallo is a lifelong horror fan, and sees the horror genre as an expression of anxiety. She feels that horror frees you to talk about ideas that are disturbing and unsettling at their core.

Master incorporates some of Mariama’s personal experiences as an undergrad at Yale, where the advisors/mentors were called Master. As an African American, Mariama later found it bizarre and perverse to have referred to someone in this way. She knew she wanted to make a film called Master, and examine the scary realities of what that word means. Once she began to write, Mariama found that accessing her memories of being a Black woman at an elite university felt painful and horrifying, so she knew this was where the script needed to go. She started imagining how to picture the school- orderly, controlled, static and a looming presence. When the malevolent spirit appears, it is a jarring, violent rupture to the polite presentation of the school.

Mariama and cinematographer Charlotte Hornsby worked together on her short film Hair Wolf, and they knew they shared the same ideas and influences. As they got into preproduction on Master, they watched movies, had long discussions about the look of the film, and shotlisted the film together. Prior to becoming a DP, Charlotte was an art director, so she has a deep understanding of using color in her work. Charlotte was definitely influenced by the color palette in Suspira and chose to use shades of red and experimented with using shadows for a haunted feel. Charlotte also liked the use of zoom lenses in movies such as Rosemary’s Baby, and used a long slow zoom in Master to key into the pace of the scene. She chose to represent the POV of the supernatural forces watching from a distance with a zoom lens, while putting the camera on a dolly to act as the character’s perspective.

Find Mariama Diallo: Instagram: @diallogiallo

Find Charlotte Hornsby: https://charlottehornsby.com/
Instagram: @charlottehornsby_

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep163/

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

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz