AMERICAN MARY is a haunting film that is darkly beautiful.
You cannot gaze upon the trailer without taking notice of the breath taking cinematography. Stylistically, the film is as far from the Grindhouse style of DEAD HOOKER IN A TRUNK as imaginable and the director of photography for the film was absolutely vital in achieving the beautiful look and dark feel to the film. It was our intention from the very start to give the cinematography of the film an Asian and European film inspired style, looking to films such as AUDITION, I SAW THE DEVIL, and LET THE RIGHT ONE IN to inspire. With even the harshest and most unforgiving of content, we wanted the beauty and style to shine through. It was no small under taking to find a DP that could achieve this look with our time span and modest budget.
He had to be fast on his feet. He needed to have a clear vision for the film. He needed a deep understanding of Mary Mason and her world. He needed to be the best of the best. He needed to be Brian Pearson.
"It was fascinating working with twin directors Sylvia and Jen Soska on this film because they both had such a similar version of the project and of “Mary” in their minds. If one director took off to look at wardrobe or make-up, or to go into make-up for her role, the other one could immediately answer any questions for myself and the crew. Our collaboration was very smooth and worked hard to define an arch in the camera and lighting that would support the story of Mary’s journey."
Brian Pearson is one of the most gifted, brilliant, insightful, and professional men that we have ever had the esteemed pleasure of working with. He's worked on DRIVE ANGRY, MY BLOODY VALENTINE, I, ROBOT, KISSED, DEVOUR, THE BUTTERFLY EFFECT 2, FINAL DESTINATION 5, the DARK ANGEL series, two Masters of Horror films, and numerous others.
"I wanted to make the visuals in Mary’s world as dark and mysterious as possible. I pushed the contrast levels hard in certain scenes to make Mary’s world very dark and bleak at times. I experimented with underexposing the Red Epic-X cameras which gave the image a kind of wonderful (digital) grainy feel, something like one would have had underexposing a fast film stock in the past. I tended to expose more in the toe of the sensor which seemed to give her world a slightly hazy quality, like when you’re in a dark room and you’re straining to see something in the distance or when you’re in a dream. The look the images had when underexposed felt right to me for this story and gave Mary’s world an uncertain, unstable quality where not everything was clearly defined or clearly illuminated."
We cannot wait to show you the film.
Please enjoy the FULL INTERVIEW from MENTORLESS with the amazing Brian Pearson RIGHT HERE.
Fatally Yours,
Jen
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