White lotus episodes8/9/2023 “We are carefully crafting the backgrounds in this show to build the tension. It could be beautiful, it could be dreamy, or it could be a little bit menacing and like there’s a storm brewing underneath, and we do that with the sound,” Madsen said. But if you pay attention, the sound will kind of give hints into the emotional state of a character. “ does these transitions between the scenes and it’s shots of waves or it’s shots of rock, scenic shots. It was important to withhold the mystery of what the sounds really are until the last possible moment and until Grobet’s quite voyeuristic shot of Tanya peering around a mirror, so both her eyes and the glass catch the image of Jack and Quentin having sex.īut Madsen was helped by the way sound works on “The White Lotus” overall. “When Tanya (Jennifer Coolidge) is laying in bed and she hears this sound and it almost sounds like someone could be having a nightmare or someone’s in pain or something,” Madsen said. The slow build was also important for Madsen and the sound team. All of a sudden we’re left in the credits with some kind of mysterious vibe of what might happen.” The goal with these moments for Tapia de Veer and co-composer Kim Neundorf was to create cues that felt very dark but also sensual, unfolding slowly but getting ever more operatic. “It’s always towards the end of an episode that things become a little bit more serious. “We went for something a little more dramatic, maybe, because it’s anticipating how things might be going towards the end of the show,” composer Cristobal Tapia de Veer told IndieWire. Those shots are for our perspective, and for us to start freaking out.Ī sense of the weird and the wrong guides the development of the score, too. I like to make the camera feel as if we were a character as well.” Grobet emphasizes that first-person perspective very explicitly here, as normal tracking shots of Tanya walking through the corridors are intercut with more dolly zooms, in parts of the palace that Tanya may or may not pass by. So accentuates that feeling of surveillance and intrusion into their lives. “It’s a very voyeuristic thing to do because you are actually picking into their lives and you’re trying to see even farther than you’re allowed to see. So it almost asks you to go that way, you know?” Grobet said. “It’s written into the pages – not the style, but the feeling of. But once she’s on the move, Grobet employs a deeply unsettling dolly zoom of the opulent interior. Once you have that location, then everything else follows from that: the way you light it, the way you move the camera, the way you stage the scene to create moments of tension.” Grobet creates that immediate sense of something off and wrong in the dark with the shots of the villa architecture, and the show even gets a little cheeky by putting an apple on Tanya’s nightstand she briefly considers when a sound wakes her up in the middle of the night. “The location itself gives you the emotion of the scene. We changed it because the one palazzo was better for the more intriguing scenes and the other was more like opulent place you’d want to stay in,” Grobet said. “The one that we used for Palermo was in Noto and the one that we used for Noto was in Palermo. “The two palazzos were actually on the opposite sides of Sicily,” cinematographer Xavier Grobet told IndieWire. These qualities of the villa actually contributed to where the show shot the sequence. Like the chattering monkeys of Season 1, “White Lotus” Season 2 finds whatever ways it can through its locations to convey the sense that there are primal spirits watching the follies of man. The interplay here gives all of the stone faces a sense of animalistic power.
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |