In our recent interview, MoonKnight cinematographer Gregory Middleton breaks down what made Marc's two major transformations different, what he hopes to do with Jake Lockley in the future, and how ThorLoveAndThunder might affect certain characters:
Over a week after its finale, Moon Knight season 1 has remained in the consciousness of Marvel fans even as Doctor Strange in the Multiverse of Madness has dominated the movie theater box office as MCU films tend to do.
Actually, in the original scripts before that team joined, that scene at the end of 4 was the beginning of 5. Episode 5 began with waking up in the hospital, and that was the beginning of that. I think it was smart to move that into 4, because it gave more room for what was going on 5; they were rebalancing the story of it.
Every scene with Oscar playing two characters has to do multiple passes, either with a locked off camera or motion control when tracking the hallway shot, for example. Then we have to mimic how many we can do with that. One time we would change Oscar and would leave one camera set up in one window, so we could do one half of him looking in the window from inside of the room while we're doing another scene.
Gregory Middleton: There were a few interesting things. There were some lines in the script originally, where I think she was asking about if maybe she can have wings or something when negotiating with Taweret. That scene was a bit longer. I think the most important thing design-wise for Meghan and everyone was to make her powerful and still feminine, and not some overly armored, giant, cumbersome thing. They wanted to [make her] a person, in the same way that Ethan did not want to wear a giant crocodile armor suit to be Ammit's avatar. It would have also been too many of these things fighting each other that are all just clamored up, armored people.
The other thing was to keep us having an interesting perspective, looking up with these gods. When Harrow walks up to Moon Knight in the end, and Khonshu's getting the crap beaten out of him, that tells you in the audience like things are going bad and the shift of power is going against Moon Knight before Jake Lockley emerges. We want to make sure you get those moments ideally within a shot.
There are a lot of threes in reflections, even in the first episode we get the three mirrors. Even if you don't know the comic book character, ideally and visually, as you start to become aware that this double life is happening, it puts the idea in the audience's mind that there could be more. We keep seeing multiples of him everywhere, so who says it has to stop at two? You want that to be an open question. But we didn't do it in too big into it.
Gregory Middleton: Last time I saw Oscar after the premiere, we were talking about that. But when Oscar made Steven, he was this more bumbling, almost over-the-top character. He's entertaining, he's quite sweet, and he also has things he wants to get. He didn't have a date; he wants to have a life - you care about this character, but he has his own way. The split in the comics is not that distinct.
Doing three would be great, though! I love the idea of Steven and Marc being trapped in a mirror, watching Jake do something. That image could be great. They're like,"What's going on?" There could be some really interesting ideas there. I don't know what they're going to come up with, script-wise, but I'm sure there's a motivation to try and find something.
The one thing I wanted to do with the transformation was make sure we had a nice, low three-shot with the statue and Khonshu and Moon Knight. Something that was very graphic, out of a comic book panel, with lots of diagonal line. Making him heroic, but with these things looming over him. The puppet master's there, so you want to frame it that way. That was a distinct thing, whereas the other one is shot much from the front.
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