Wake Up Dead Man: A Cinematography Masterclass in Contrast – Deconstructing Rian Johnson’s Latest Mystery
Rian Johnson continues his streak of critically acclaimed Benoit Blanc mysteries with Wake Up Dead Man, a captivating whodunnit centered around the enigmatic death of the fiery Monseigneur Jefferson Wicks (Josh Brolin). Set within a hauntingly Gothic small-town landscape, the film leans heavily into atmosphere and visual storytelling. Johnson once again collaborated with cinematographer Steve Yedlin (known for his work on Looper and The Last Jedi) to bring his artistic vision to life. This collaboration, built on decades of friendship, allows for a uniquely efficient and creatively fertile filmmaking process. This article delves into the masterful cinematography of Wake Up Dead Man, exploring how Yedlin’s techniques elevate the narrative and immerse the audience in its shadowy world.
A Longstanding Partnership: Johnson and Yedlin’s Creative Synergy
Yedlin’s involvement extends to the previous two Knives Out installments, and his relationship with Johnson dates back to their teenage years. This deep-rooted connection is a significant advantage. “We don’t have to test each other,” Yedlin explained to Ars. “There isn’t that figuring out period. We get to use the prep time in a way that’s really efficient and makes the movie better because we’re [in agreement] from the very first moment of whatever time we have crafting and honing and sculpting this movie. We don’t waste time talking abstractions or making sure we have the same taste. We can just dive right into the details of each individual scene and shot.” This pre-existing understanding allows them to focus on the nuances of each shot, maximizing their creative output.
The Power of Light and Shadow: A Gothic Aesthetic
Wake Up Dead Man’s distinctive Gothic sensibility demanded a heightened interplay between light and dark. The script specifically called for dramatic lighting shifts, even within single scenes. A prime example is the tense exchange between the young priest, Jud Duplenticy (Josh O’Connor), and Blanc. As Blanc begins to question Duplenticy, clouds obscure the sun, mirroring the growing tension. The sun’s reappearance coincides with Duplenticy’s increasingly impassioned speech, visually amplifying his emotional state. Blanc himself experiences a symbolic “road to Damascus” moment bathed in sunlight just before the final reveal.
Manipulating Natural Light for Dramatic Effect
Yedlin described the church set as a playground for lighting experimentation. “In the church, we have day, night, dawn, dusk,” he said. “We have early morning rays slashing in. As Wick’s speech swells up, the sun bursts out from behind the clouds and flares the lens.” To achieve this level of control, the team utilized custom light control software. This allowed for precise manipulation of lighting nuances and the creation of dynamic cues that changed during shots. “It’s very repeatable and dependable and you can just push a button and it happens on the same line over the same length of time, every time,” Yedlin explained. This technology enabled them to seamlessly integrate natural light with artificial sources, creating a visually stunning and emotionally resonant experience.
Beyond Darkness: The Importance of Contrast
The church and rectory set were Yedlin’s favorite locations to film. “It’s so beautiful on every level,” he commented. “It’s just so nuanced and has so much character. It’s so right thematically, and it has so many different facets to it; we have all these different areas. And logistically, they set it up for us with the lighting to be able to do so many different looks.” The set was designed with clear, textured windows on both sides to facilitate lighting manipulation, and colored glass at the top concealed rigging. This thoughtful design allowed the team to focus on creative expression rather than technical challenges.
Yedlin emphasizes that effective darkness isn’t about simply eliminating light, but about utilizing contrast. “I like to see stuff in movies,” he stated. “It’s always storytelling. It’s being evocative of that thing rather than doing it literally. Sometimes people forget that everything’s a style. Realism is a style.” He points out that true darkness limits color perception, requiring an “impressionistic” approach to visual representation. “If you get a lot of inky black into the frame, that doesn’t mean the whole shot’s really dark,” he clarifies. “For the most part, the stuff that feels dark is because it has lots of darkness in the shot, not because you’re struggling to see the things that you need to see.” He notes a recent trend towards dim and flat cinematography, contrasting it with his approach of achieving darkness through dynamic contrast.
Technical Innovations: Stage Backings and Simulated Firelight
To further enhance contrast, Yedlin employed a unique staging technique, utilizing two stage backings instead of a single flat painted one. “When something is just flat and painted and reflective, you can’t fully control the contrast because this is not an OLED, it’s paint,” he explained. “From the brightest white to the darkest black, there’s a limited contrast between those.” This allowed for greater control over the interplay of light and shadow, particularly in night scenes.
For example, separating the trees and sky allowed Yedlin to create dramatic silhouettes against a deep blue sky at night, or to fully illuminate both elements during the day. He also leveraged light control technology and lightweight monitors to simulate the flickering of firelight in characters’ eyes and eyeglasses, adding another layer of visual depth and mood. This demonstrates a commitment to pushing the boundaries of cinematic technique to enhance the storytelling.
The Evolution of Cinematography: A Constant Learning Process
Yedlin’s approach is rooted in continuous learning and experimentation. “You’re always learning,” he says. “You never want to get stuck in your ways. It’s exciting to able to do things differently. This movie felt like we were pushing forward in several realms, and Rian knows how to make it so much fun for everyone.” The collaboration between Johnson and Yedlin isn’t just about executing a vision; it’s about actively exploring new possibilities and refining their craft.
The Influence of Digital Technology on Visual Storytelling
The advancements in digital cinematography and lighting control have significantly impacted Yedlin’s work. The custom light control software, for instance, allows for a level of precision and repeatability previously unattainable. This technology empowers cinematographers to create complex lighting sequences with ease and confidence, freeing them to focus on the artistic aspects of their craft. The use of lightweight monitors and digital effects further expands the possibilities for visual storytelling, allowing for the creation of realistic and immersive environments.
Looking Ahead: The Future of Cinematic Contrast
Wake Up Dead Man stands as a testament to the power of collaboration and the importance of visual storytelling. Steve Yedlin’s masterful cinematography, combined with Rian Johnson’s sharp writing and direction, creates a truly captivating cinematic experience. The film’s emphasis on contrast, both in terms of light and shadow and thematic elements, elevates it beyond a simple whodunnit, transforming it into a visually stunning and intellectually stimulating work of art. As technology continues to evolve, we can expect to see even more innovative and breathtaking cinematography in the years to come, pushing the boundaries of what’s possible on screen. The film is currently streaming on Netflix, offering viewers a chance to experience this cinematic masterclass firsthand. Keep an eye on GearTech for further analysis of cutting-edge filmmaking techniques and trends.