Winner of the Panavision Spirit Award for Independent Cinema at the 2023 Santa Barbara International Film Festival and the RBC Emerging Canadian Artist Award at the 2022 Calgary International Film Festival, the comedy feature I Like Movies follows the plight of a socially challenged 17-year-old who's forced to confront the realities of adulthood while working at his local video store. Drawing inspiration from writer-director Chandler Levack's cinematic acumen, the movie marks the feature-length debut for Levack as well as cinematographer Rico Moran. Together, the duo crafted a stylized aesthetic that underscores the perspective of the movie's protagonist, Lawrence (played by Isaiah Lehtinen).Panavision recently caught up with the director and cinematographer, who recount their journey to turn their visions into reality.
Panavision: How would you describe the look of I Like Movies?
Chandler Levack: Southern Ontario nostalgic realness.' We wanted to create a lot of warmth and use natural light sources from windows and lamps to highlight the environments. The movie is a period piece set in the early 2000s, in my hometown of Burlington, Ontario, so it was crucial to create a warm, nostalgic atmosphere that was still a bit stylized, paying subtle homage to the auteurs our lead protagonist, Lawrence, is obsessed with namely Stanley Kubrick and Paul Thomas Anderson. We shot in the old Academy aspect ratio of 1.33:1, and we were rarely handheld. We wanted to create a warm sense of intimacy in the camerawork that could really highlight the blocking of the actors in the scene and the environment of the video store.
Rico Moran: We set out to make I Like Movies look at once nostalgic and modern, like the way you remember your grad-photo glossies even though they're a bit sun-faded now. We wanted the colors to be vivid yet restrained and the framing to echo Lawrence's narrow perspective. Chandler had chosen the 1.33:1 aspect ratio as a nod to the TVs we grew up watching movies on. It was a perfect size to frame a close-up portrait and to emphasize how Lawrence didn't really look beyond his own little world.
Were there any visual references you looked at for inspiration?
Levack: Rico and I created an exhaustive visual reference board for the movie, which was so fun to do. Color-palette-wise, I was obsessed with the way that Almod var always uses red and teal in his films. Antonio Banderas kitchen in Pain and Glory became the inspiration for the branded scheme of our fictional video store, Sequels, which bled its way into the set dec and color scheme throughout the movie. We also watched a lot of French New Wave movies by Godard, like La Chinoise, to see how primary colors against neutral backgrounds could really pop.
All the coming-of-age movies that I revered as a teenager and today also played a pivotal role in designing our camera moves and the general vibe and lighting of the film. I think Rico got sick of how many times per day I would reference Lady Bird, but it was really a guiding light for creating an environment of stylized authenticity that remained true to a prickly protagonists lived experience of the world. We also studied Ghost World, Rushmore and My Night at Mauds.
Moran: It was quite a range of movies we watched together to align ourselves, from Andrea Arnold to Eric Rohmer, with stops at Elephant and Marriage Story. Often there would be a specific reference point in terms of framing style, color treatment or coverage strategy, and other times it was just for a dash of fun. I was also keen on looking to photographers like Paul Graham, Hannah Starkey and Tina Barney for their vivid palettes and inspired framing.
What brought you to Panavision for this project?
Moran: Panavision was always my first choice for my first feature. To be able to tell the story of our film-obsessed hero with the lenses that were used to shoot some of his favorite movies felt perfectly appropriate. I wanted to give a touch of Hollywood to the not-so-Hollywood Burlington, Ontario.
I've always felt so supported by Jerry Papernick, James McMahon and Johanna Gravelle at Panavision Toronto, and this project was no exception. Their team is always game to work with me and my crew to find the perfect lenses and accessories for every situation.
Levack: Panavision are the most iconic camera company in the world, and my favorite directors of all time have always shot with them. I love their lenses so much they're not only iconic but divine vessels of cinematic creation. I'd always dreamed of being a Panavision filmmaker. It was a shot in the dark, but I wrote Panavision a very sincere love letter expressing my desire to work with them on I Like Movies. Lawrences heroes Paul Thomas Anderson and Stanley Kubrick have famously always shot with Panavision, so I included behind-the-scenes photos of them shooting with Panavision cameras and explained my artistic vision for the movie and the way Rico and I wanted to shoot the film. When they said yes, I teared up.
Panavision have been such generous collaborators and supporters of the project. At our U.S. premiere at the Santa Barbara International Film Festival, I Like Movies even won a juried award for Independent Cinema that included an equipment grant from Panavision. It is such a gift to know that I can continue to shoot with Panavision cameras and lenses on future projects.
What optical characteristics do you see in the PVintage lenses that made them the right match for I Like Movies?
Moran: During prep, Chandler and I tested different sets to determine what would be the best fit. I had a feeling that the PVintages would be the winner, and after a blind test, this was confirmed. I love their soft contrast, velvety focus roll-off, expressive but not excessive flares, and fast T-stop. We didn't have a lot of
