Principal photography took place from June 17, 2020 to July 2, 2020. “Production designer Michael Grasley [The Runner] found a beautiful house in Carmel,” remarks Rév. “It is called the Caterpillar House and Jonathan Feldman was the architect. It’s organic, modern architecture with two bedrooms and a living room that has sliding glass doors on three sides. The house is surrounded by hills and the whole movie takes place at night. So instead of walls we had to light all the landscape around the house. It was like shooting an exterior because you could see everything. It was a technical challenge given the sensitivity of the stock but the space was really cinematic and gave us a lot of angles. The rest of the house was narrower and a maze-like structure with two bedrooms and bathrooms where you could get the feeling of getting lost. This is definitely a performance driven movie but we really wanted it to have a strong visual language. We were looking for a location that we could put down dolly tracks around the house.”
No storyboards were created. “During the rehearsals with the actors we came up with the blocking and shots,” states Rév. “John and Zendaya are amazing and really great to work with. On this movie we were really letting their performance lead our camera but when needed they understood the technical side of the process too, and they were ready to repeat takes for a certain precise camera move or position. Key crew members were gaffer Danny Durr, who had to put huge lights on top of a lot of hills around the house with his crew in those 14 days, and key grip Jeff Kunkel. There were a lot of dolly moves in this one and Jeff was key gripping and dolly gripping at the same time. It wasn’t an easy one given the size of their crew but they both did an amazing job. I was operating. First AC Norris Fox and second AC and loader Jonathan Clark were keys for us to feel confident about the technical aspect of shooting film.”
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