I'm a huge fan of Crewdson's work. He and his team construct
meticulously staged scenes, using large crews and cinematic
techniques to create singular images. These tableaux often unfold
on quiet, empty neighborhood streets. Crewdson frequently
works in western Massachusetts, around Great Barrington—
where I attended Simon's Rock College of Bard. I enrolled at 16
and studied large-format photography at the small school, which
has a student body of fewer than 300. Coincidentally, Harper
Glantz from Crewdson's production team also attended Simon's
Rock, as did my location assistant, Forrest Heidel.
After surveying the city, Crewdson selected one of Eddington's
featured streets for the shoot. In preparation for the weekend,
the Location Department coordinated with our rigging team to
relocate condors and strike existing cable runs. KALM scout
Ehrin Davis/LMGI assisted with the initial camera preparation
and light studies, including standing in for Joaquin Phoenix. Our
FX crew filled the street with atmospheric smoke, and we waited
for the precise quality of evening light. Joaquin was then brought
into position, standing alone in the street as a beam of light fell
across his face and he looked skyward.
Crewdson's DP, Richard Sands, captured more than 20 images,
which were later composited into the final piece. The finished
photograph was released by A24 as a limited-edition print.
Working on Crewdson's "film within the film" was a rare
experience, and a highlight of my time helping to bring Eddington
to the screen.
Photographer/artist Gregory Crewdson
and director Ari Aster.
Photo by Harper Glantz
Ehrin Davis/LMGI & John Lucas/LMGI
assisting Crewdson's crew with prep.
Photo by Juliane Hiam
