Exclusive Interview – Cinematographer Michael Marius Pessah discusses his latest film, Bret Easton Ellis’ Smiley Face Killers

Bret Easton Ellis is understood for writing classics equivalent to American Psycho, The Guidelines of Attraction and Much less Than Zero. His newest venture is the horror movie, Smiley Face Killers, starring Crispin Glover, Ronen Rubenstein, Mia Serafino and Cody Simpson. The movie’s synopsis reads, “As a murderous cult arrives on campus, Jake (Rubenstein) finds himself plagued with mysterious messages that lead him and his buddies down the rabbit gap in the direction of homicide and mayhem. With pressures closing in from all sides, he should resolve if the cryptic messages are a prank or if his life really is in danger. As his buddies start to fade, he realizes that he stands out as the subsequent one within the crosshairs and loss of life is about to return knocking”. One of many creatives concerned with the venture is award-winning cinematographer Michael Marius Pessah, who has an unlimited resume together with documentaries, mini-series, movies, museums, cell units and shorts. He has change into identified for his work in black and white, in addition to his daring use of sunshine.


We wished to get some perception on his artistic course of for Smiley Face Killers, so we talked to him solely about every part from what pre-production seems to be like for him, to working with director Tim Hunter.

How did you change into concerned with Smiley Face Killers?

I used to be lucky sufficient to collaborate with Bret Easton Ellis and producer Braxton Pope on the sequence The Deleted, a present I’m actually happy with. Quickly thereafter we bought along with Tim Hunter and filmed a sizzle trailer for the Smiley Confronted Killers – a few of that footage is within the ultimate lower of the film. As you possibly can think about, I used to be an enormous fan of Tim Hunter’s work: River’s Edge, his episodes of Twin Peaks and Breaking Dangerous to call just a few, so I used to be very enthusiastic about what we might cook dinner up.

Are you able to describe your artistic course of for Smiley Face Killers. How did you resolve the look of the movie?

One factor I’ve at all times stated is that each style movie is in a dialogue with all of the movies of that style that preceded it – that’s why they’re so attention-grabbing to make. It will be troublesome to movie Get Out with out being conscious of Halloween or Amityville Horror, equally it might be robust to shoot 500 Days of Summer time with out seeing When Harry Met Sally or Pillow Speak. So we spent fairly a little bit of time speaking about different movies of the style and what we wished to embrace and what we wished to steer clear of.

Each Bret Easton Ellis and Tim Hunter have an awfully deep information of cinema and likewise a powerful aesthetic sensibility of their very own that they’ve crafted over the a long time so it was loads of enjoyable creating a glance with them. Ultimately, the look of the movie is of a hazy Southern Californian daydream that slowly turns right into a nightmare.  We wished to show loads of the Socal iconography inside-out.

What does pre-production seem like for you on a movie equivalent to Smiley Face Killers?

Preproduction on this movie was uncommon for me.   I used to be nonetheless filming Saving Flora – a household journey that couldn’t be extra completely different! – when SFK was scheduled to begin manufacturing.  Jan Wielski began the film off and did a superb job with all of the Vegas cinematography.

After I used to be capable of resume work on SFK, there was loads of scouting with Tim Hunter and Braxton Pope for places that will give the movie it’s very distinctive tone.  A lot of the work in creating the look of the film had occurred earlier once we shot the trailer for the movie, so it was principally a matter of constructing the practicalities of manufacturing bend to what we imagined. The seaside scene is a superb instance of that – we constructed campfires alongside the seaside in strategic spots so the smoke would stand up and catch our moonlight. The automotive chase necessitated us should set lighting vans alongside lengthy stretches of abandoned street, after which work out intelligent methods to cover them.


Tim Hunter directed Smiley Face Killers. Was there something specifically you discovered from him throughout this manufacturing?

One of many issues Tim does as a director that’s so extraordinary is that he actually understands how you can block his actors utilizing the depth of the body and the set. Many administrators simply transfer their actors across the X and Y axis of the display – Tim actually understands how you can use the third dimension so as to add further dynamics.   It’s tough sufficient when it’s a easy scene, however Tim is in a position to do that with very advanced scenes with loads of characters and motion.. it might flip your mind into knots however Tim is form of a chess grasp and he makes it look simple.

Did you shoot Smiley Face Killers earlier than the pandemic? How has the pandemic affected your work?

We did shoot it earlier than the pandemic. After all it might have been tougher if we had been filming it now, however we might have discovered a approach. The largest approach the pandemic has affected my work is that it has made speaking onset tougher. It’s tougher for individuals to listen to you discuss behind the masks and the PPE, and most significantly you lose your smile and so a lot of your non-verbal cues. You may’t whisper within the director’s ear or let the focus-puller see that you’re appreciating her work, and all of the refined stuff you do to maintain a set shifting alongside fortunately. I actually wish to preserve my set as a enjoyable, joyful place to work and it’s simply tougher to do this underneath the required security protocols. I joked about drawing a smiley face on my N95 masks, since nobody can see me smile anymore, however I made a decision that it might be extra creepy than amusing, ha!

You could have a documentary movie popping out known as Physique Electrical. What are you able to inform us about this venture?

I’ve been engaged on that documentary for a few years with Nick Demos and Gio Messale. It’s about problem of physique dysmorphia inside the LGBTQ+ neighborhood.  It’s a really significant story to inform, and there’s some nice interviews we’ve filmed. I’m fortunate to have the ability to work in each scripted and documentary tasks – you at all times be taught issues from one that you would be able to apply to different.


Is there a present you’re presently watching that the cinematography actually stands out to you?

Like many individuals, I’m blown away by Steve Meizler’s work on The Queen’s Gambit.  Trying to find Bobby Fischer is one among my very favourite motion pictures, so it had huge sneakers to fill and it greater than did so… Simply lovely portraiture and visible storytelling. Mank, photographed by Erik Messerschmidt, ASC is attractive too.

Who’re your present influences?

Nicolas Roeg is at all times a supply of inspiration, his motion pictures (most of them photographed by Tony Richmond, ASC) are so trippy and avant-garde and visible but in addition have a lot coronary heart to them. Don’t Look Now and Walkabout get me each time. I like every part Natasha Braier, ASC movies – she filmed some Hennessy commercials with Nicolas Winding Refn which can be jaw-dropping. I’m an enormous fan of Gregory Crewdson’s images, and he has a brand new sequence known as An Eclipse of Moths that may be very compelling visually – every picture tells a really unusual a good looking story.

How did you initially break into the business?

I had a New York Public library department with VHS Assortment close by as a child. I watched each film that they had that Roger Ebert gave a ‘4 star’ evaluate to on these actually grainy outdated cassettes – that was my first movie training. After finding out loads of experimental cinema at Hampshire School, I used to be an intern at Curious Photos. That they had small movement management studio inside their workplace on Lafayette Avenue. There I bought to see many prime cinematographers work, and lots of of them had been variety sufficient to let me load the digital camera or usually pepper them with questions.  As quickly as I noticed them at work, I knew precisely what my dream job was and I by no means seemed again.  I filmed each low-budget film and music video that I might, and ultimately studied Cinematography on the AFI Conservatory – a life altering expertise.


What different tasks do you might have arising?

I filmed a really attention-grabbing venture known as I Dared My Greatest Buddy to Damage My Life for Michael Morgenstern. It’s form of Combat Membership meets Scott Pilgrim. I’ve an upcoming movie, in black and white, for Matthew Mishory known as Mosolov’s Suitcase – we shot on movie at Moscow’s legendary Mosfilm Studios. I’m presently filming a Netflix documentary sequence, and I’m in preproduction on a single-location horror movie that will likely be very scary and revolutionary. The horror/thriller style is a lot enjoyable to work inside and is at all times a spot the place a lot innovation begins – from Nosferatu to The Factor. I’m fortunate that I get an opportunity to make motion pictures in that idiom and that the fanbases in communities like Flickering Delusion are so supportive of the work.

Many due to Michael Marius Pessah for taking the time for this interview.


Supply by way of www.flickeringmyth.com

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