How ‘The Card Counter’ Found Visual Cues in Virtual Reality and Italian Renaissance Painters

How ‘The Card Counter’ Found Visual Cues in Virtual Reality and Italian Renaissance Painters
Cinematographer Alexander Dynan got to know director Paul Schrader working on “First Reformed” and an earlier film, “Dog Eat Dog.”

Dynan developed a shorthand with Schrader and with colorist Tim Merick that helped him light and color Schrader’s “The Card Counter,” which is in cinemas now.

Told in an urgent, immersive style, the film follows William (Oscar Issac), a lonely and tortured man who once served at Abu Ghraib. He exists in a kind of purgatory, so the drab and monotonous backdrop of casinos mirrors his conflicted soul. Flipping between the drab suburban landscape of the present and hallucinatory visions of the prison, Dynan turned to inspirations from Schrader’s lodestar, Robert Bresson, to VR videos to Caravaggio to help deliver Schrader’s vision.

This is your third collaboration with Paul, can you share a little about your shorthand and how that works?

On “First Reformed,” we really established a visual language.
See full article at Variety »

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