The German cinematographer created what he describes as “authentic, intimate observation” for Todd Field’s contemporary drama.
“If you want to create a world that feels so real that it’s immersive, the visuality has to be authentic,” says the DP. “Todd would emphasize the idea of observation. For example, in the big concert hall for all the rehearsals, he was adamant that it should feel like a workspace. We didn’t want to romanticize the music, which is your first instinct.”
Hoffmeister says that as they discussed the scene, they had roughly 35 shots in mind. “The idea was to create a movement of the camera that would follow those 35 setups — you would have wides, you would’ve had more intimacy with her, you would’ve followed her closely, you would’ve had a two-shot at the piano. We would go through all those stages that we felt were the appropriate angles.
They did a technical rehearsal and a full day with Blanchett before they began filming the scene. “I still remember, the very first take was absolutely perfect [until the last 15 seconds],” Hoffmeister says. “It’s 10 minutes. You think, ‘Are we actually going to be able to pull it off?’ And just at the very end, we slipped technically. So we had to go again.
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