In an interview with Digital Trends, JohnLeonetti, OonaChaplin, and RamónRodríguez discuss their new horror film Lullaby.
John Leonetti understands how to scare an audience. The veteran cinematographer shot some of the most memorable horror films of the 2010s, including Insidious, The Conjuring, and Insidious: Chapter 2. This partnership with James Wan, who directed all three of those films, led to Leonetti stepping into the director’s chair for Annabelle, which grossed over $255 million on a $6 million budget.
Oona Chaplin: No. There were a few moments that were absolutely horrific. The mirrored hallway, the exploding mirrors, my nervous system was shot after that. It was just so stressful and scary. There were a couple of moments with the hag where I genuinely didn’t know where she was, but I was like, “Ah.” [Laughs]Chaplin: I like making them. [Laughs] I don’t like watching them. I can’t because they just haunt me for too long. It’s too much.
Rodríguez: It was great to see his track record in horror. That gave me a lot of confidence, especially since I haven’t done it. We’ve got a leader that has done this and knows how to create suspense and tension. First of all, he’s been in the business so long, right? He’s a cinematographer and he’s just done such great work. I love that he wanted everything to be very much in-camera. He didn’t want to use a lot of special effects or stuff. That’s a great element.
I saw Oona on a couple of episodes of Game of Thrones, and she was so genuine to me. She was just so real in that part, and it was powerful. So I think that’s what stood out at first. I met her, and she seemed real and nice. Chaplin: Well, I have very successful female friends that have incredible careers. Then, they’re given the task of being mothers, and they lose their shit. [Laughs] You see they’re all frazzled, just trying to just get [the baby] to go to the bathroom. This becomes a whole ordeal. I’ve also seen extremely skillful mothers that have an incredible gifts. It was interesting to feel that challenge, especially because the babies [on set] wouldn’t cry.
Rodríguez: Yeah, that’s what really connected with me. I’m going to look for the human aspect in this story, and I thought it was intriguing, what that must feel like to be a new parent with your baby and your wife begins to lose it, and you’re not sure what’s going on. Then, you start to lose it, and you begin to doubt and question things.
Rodríguez: It was COVID, and we were all holed up in our home separately. What I actually loved about is we all had to arrive there at least two weeks early to quarantine. That gave you at least two weeks to sort of prepare, and I had already been preparing. We got on several Zoom calls to have a lot of conversations about this couple and what they’ve been through, what they do as careers, and how they function with each other now.
You shoot the story and you light the whole place so that you are able to go anywhere. You make the lighting, which I really honed on Insidious and developed further in The Conjuring, very natural. I’ve always come from the place where the more natural and believable the look of a film is, then the scarier it is. It’s that simple.
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