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Intimate and Epic

06/02/2023

Set in the West African kingdom of Dahomey in the year 1823, director Gina Prince-Bythewood's feature The Woman King focuses on the historically inspired but fictional General Nanisca (Viola Davis) as she trains a new generation of women warriors to protect their people against the threat of the Oyo Empire and the ravages of the slave trade. As a historical epic, the movie has a classic and timeless feel that is rich and colorful but not overly glossy, explains cinematographer Polly Morgan, ASC, BSC. We wanted to create a beautiful yet authentic movie that was full of texture and paid homage to the history of this incredible place and these incredible women.

Principal photography took the filmmakers to South Africa, and in addition to the local Panavision office in Cape Town, Morgan found support from Panavision's Woodland Hills and London locations, assembling a package that included Panavised Alexa Mini LF cameras and expanded T Series anamorphic optics. The cinematographer recently took the time to share her reflections on the production for this illuminating Q&A.

Panavision: How would you describe the look of The Woman King?

Polly Morgan, ASC, BSC: Early in prep, Gina coined two terms that inspired the photography. Intimately epic' was the first, and it spoke to the fact that although the film had giant scope and dynamic action, we wanted to focus on the drama of the characters and the relationships between them. We wanted to tell the story of these strong and powerful women, showing not only their physicality but also their tenderness and vulnerability. I wanted to portray the characters as the powerful women they were, but I didn't want to ignore their femininity or gentleness.

The second term was pretty gritty,' describing how we wanted our women to look beautiful but not too perfect. We wanted the audience to connect with these characters in their high and low moments, and that meant leaning into the sweat, grime and blood and creating images that could help pull the viewer back into this mostly unknown part of history.

I wanted the photography to highlight the lush nature and incredible architecture that was Dahomey in the 19th century. For this, I took inspiration from the incredible BBC documentaries I grew up with and created a look that was filmic, with a natural yet rich rendition of color. I also wanted to embrace the reality of African light while subtly controlling it to help reflect the story. In broad terms, I wanted to control and soften the light in Dahomey to help create a feeling of beauty and culture within the environment, and then in [the port city of] Ouidah to lean into the higher contrast and harder light to help reflect the brutality and ugliness of the slave trade.

How did you approach lighting the movie to support the drama of the story while respecting its period setting?

Morgan: In prep, Gina gave me a mandate to highlight the beauty of Black skin, and this has been one of the highlights of my career. I wanted the darker tones to be well exposed but not over-lit. The way that darker skin tones react to color and reflect light is absolutely exquisite, and it allowed me to work with lower light levels that felt appropriate to the time period.

With the architecture of Dahomey, I was able to have a strong play of light and shadow in the interior work, with rich color contrast between the cool daylight and warmth of firelight. For night lighting, I always take motivation from natural sources, and I worked closely with both the art and special-effects departments to make sure the sources stayed true to our extensive research of the period and that we could use the warmth and interactivity of actual firelight to light the environment and the actors' faces. I used big soft moon sources in combination with the firelight, which worked beautifully with the reflectivity of darker skin tones. This also provided color contrast and helped reinforce the focus on color in the photography.

We created lifted shadows and texture with the use of smoke motivated from the firelight in the frame. Wind was used to create energy and drama and help pick up the earth so that the atmosphere felt organic and natural within the frame.

In addition to the BBC documentaries you mentioned, did you find inspiration in any other visual references?

Morgan: We looked at historical epics such as Braveheart, Gladiator and The Last of the Mohicans; we also discussed the action in both The Revenant and Apocalypto. Braveheart was a good example of how action can flow seamlessly with emotional drama. Apocalypto was interesting due to the mix of handheld and more fluid camera systems when shooting action sequences. And we looked at The Revenant for subjectivity of the characters' experience, using wide lenses and long takes to immerse the viewer into the characters' journey.

For lighting, I mainly looked at artists from the Dutch Golden Age. These painters explored the use of fire and candlelight as their light source, creating dynamic and rich imagery.

What brought you to Panavision for this project?

Morgan: I've worked with Panavision since the start of my career, and they have supported me every step of the way. This was a challenging movie to make because of its scale and ambition yet with a relatively limited budget and quick schedule. I needed to have multiple cameras and an extensive lens package, and I knew that Panavision would work with me and get me what I needed to get the job done.

I worked with Panavision offices around the world, with support from Woodland Hills, London and South Africa. The support and can-do attitude of the South African office was integral to a shoot that had a constantly shifting schedule due to issues with omicron and weather.

What drew you to anamorphic for The Woman King and more specifically, what opt
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