The Cinematography Podcast Episode 323: Cinematographer Larkin Seiple

Cinematographer Larkin Seiple was ready to take a well-deserved break after wrapping the film Wolfs when director Zach Cregger sent him the script for Weapons. Larkin loved the horror mystery/thriller and that it follows the characters through the story from beginning to end. “It was the most fun I’d had reading a script for a really long time,” he says. Larkin, who is not a big horror fan, watched Cregger’s previous movie, Barbarian and enjoyed his approach to the genre. “In the first five minutes, I could instantly tell that Zach knew what he was doing. I was like, if this is what he’s doing with Barbarian, then I’m very curious to see what he wants to do with Weapons.”

Larkin and Cregger met, immediately connected, and began shotlisting and brainstorming for Weapons. Cregger was brutal about keeping coverage shots to a minimum, so the audience only sees enough to keep the story going. This meant few establishing shots or characters driving from one destination to another. But with a short shooting schedule and hundreds of scenes in the script, it was essential to have fewer shots when possible.

Crafting the look of Weapons proved challenging, due to the time of year they were shooting. Originally, the film was planned for winter, when the setting would be dreary and melancholy, but they ended up shooting during summertime in Georgia. “We ultimately wanted to find a look that kind of enhanced the scenery and the mood,” explains Larkin. “Something very melancholy, and this sense of something evil happening, and the sense of frustration.” Since the look was dark and moody, more windows were built into the sets so that diffused light could come in, which was shaped with negative fill. Night shots looked natural, with lights and a camera mounted on a condor crane in the neighborhood location.

With about 249 scenes to shoot, Larkin was very involved in scheduling and location scouting for Weapons. The crew had to move extremely quickly, averaging about 6-8 scenes per day. “You’re relighting and re-blocking six to eight times and trying to do it as quickly as possible,” Larkin says. “We found ways to do a lot of it in one shot or two, which affected the visual language of the movie. It was a very ambitious approach to the shoot. You’re working with child actors that turn into pumpkins after six hours.” The crew had two months of prep, which Larkin used to scout and create photoboards for each location. “It was a very laborious process, but there was no problem solving on the day. Photoboarding forces you to do all the problem solving because you’re there- unlike storyboarding, which is very cute,” he remarks. “Being on the ground and being on the location, you actually get to see what you’re up against.”

Weapons maintains constant camera movement throughout, speeding the story along and propelling each character’s point of view through their ordeals during the film. But the camera never reveals anything before the time is right. “There’s a maliciousness to the camera in that it does show you information but it’s not gonna help you,” laughs Larkin. “It’s very much trying to enhance what is going on, trying to put you in the shoes of the characters to be like, what was that? The camera ALSO wants to know what that was!”

Find Larkin Seiple: http://www.larkinseiple.com/
Instagram: @larksss

See Weapons currently in theaters.

Hear our previous interviews with Larkin Seiple. 
https://www.camnoir.com/ep178/
https://www.camnoir.com/ep220/

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

The Cinematography Podcast website: www.camnoir.com
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