Issue link: http://digital.copcomm.com/i/1061165
The first scout started auspiciously with me, driving the van myself, being pulled over by the cops within twelve feet of the first location. Then my big pitch of Vinegar Hill for the Village fell flat, with cinematographer James Laxton seeming confused about why I was hired. That was the hard part, since he was the person I had most hoped to dance with; to forge the creative partnership that would give this film its visual voice. That night I called James and made clear my interest in a pure collaboration, specifically between our two sets of eyes. And from then on, we became one being, in what turned out to be a tremendous partnership. We turned out to be a great team across the board with costume designer Caroline Eselin, producers Adele Romanski and Sara Murphy and the rest of the Moonlight team, none of who had worked much in New York, and most of who were not even born when the story is set. One of the main avenues into the core of Beale Street is through Fonny's art. He is the one who leaves home. His is the love that Tish trusts, which enables them to survive their vicious society. He also bucks off the weight of ghetto poverty by inventing his own future and becoming a downtown artist. So while the narrative tugged at my political conscience, it was my connection to Fonny, the artist, that drew me in. F E. HARLEM STREET SCENE. PRODUCTION STILL. COURTESY OF ANNAPURNA PICTURES. F. FLOOR PLAN FOR FONNY'S BASEMENT APARTMENT. DRAWN BY ART DIRECTOR ROBERT PYZOCHA. G. & H. SCALE MODEL OF FONNY'S BASEMENT APARTMENT BY ROBERT PYZOCHA. E H G