'This film is so important culturally and to so many people,' she said at Poland's international cinematography festival.
“And then with lighting, I tend to light moodier, and it was embraced here, and Ryan’s very specific in what he wants out of a scene and how he captures the scene and where the cameras should be. For me, light shouldn’t fall everywhere. A character should be coming in and out of light, like it happens in real life,” Durald Arkapaw continued. “And there’s so much texture and drama to a face and if you just don’t shape it, then you don’t feel that emotion.
The underwater scenes involved a lot of testing to get the desired look. “It was very important to Ryan to have a deep space movie underwater. Things are dark,” the cinematographer said. “It creates more tension, they’re textural, there’s a lot of turbidity, the clarity’s off. When you make a decision like that, that’s brave, everyone has to be on the same page.
“This film is so important culturally and to so many people and it’s not just another action film,” she added. “So you always have that in mind too. You’re paying homage to an individual but also a character that was beloved. And every person and head of department that came before me worked very hard on the first one. And so, game on, on the second one to do it justice. Also everyone loved [Boseman] on set as well, so you’re always reminded of that. So [this job] was very important for me.
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