The recent features and bear a number of similarities. Chief among them: Both were shot by cinematographer Hillary Spera. Each story also exists in the realm of horror-thrillers, and each involves a mother-daughter relationship that turns out to be something other than what's originally believed. In both cases, I would say it's a very strong bond between the mother and daughter, Spera notes. In both movies, they really love each other and are working to define their relationship. Directed by Aneesh Chaganty, Run focuses on Chloe (Kiera Allen), a bright, tenacious teenager, on the cusp of going to college, who for as long as she can remember has suffered from a number of serious ailments and has been paralyzed from the waist down. As she eagerly awaits a response to her college application, Chloe becomes increasingly convinced that her doting single mother, Diane (Sarah Paulson), is harboring a dark and terrible secret.
The Craft: Legacy, meanwhile, follows the spirit of Andrew Fleming's 1996 feature The Craft, presenting a new generation of four young women bonding with one another as they develop their magical abilities. Written and directed by Zoe Lister-Jones, Legacy begins with Lily (Cailee Spaeny) and her mother, Helen (Michelle Monaghan), moving in with the latter's boyfriend, Adam (David Duchovny), and his three sons. After befriending Lourdes (Zoey Luna), Frankie (Gideon Adlon) and Tabby (Lovie Simone) at her new school, Lily awakens to her powers and potential.
Of the two features, Run was shot first, during the fall of 2018 in Winnipeg, and The Craft: Legacy was shot the following year, in fall 2019, primarily in Toronto. For both projects, Spera turned to her longtime partners at Panavision. They're always my go-to, she says. I love that relationship of working with Panavision. One of the most important things for me is their support. It's always a yes'; they're always gung-ho to help find solutions, and they're always there to have my back. And their network is so vast. The fact that I could call [marketing executive] Rik DeLisle at Panavision Hollywood and he connected me with [rentals and services manager] Jerry Papernick at Panavision Toronto is really fantastic. It makes things so much easier and more streamlined as I work in so many different locations.
Hillary Spera and director Aneesh Chaganty.
Spera collaborated with Papernick for both Run and The Craft: Legacy. And then, she adds, when we moved to L.A. at the end of Craft, Jerry and Rik shared information and worked together. I'm so grateful to both of them. They truly moved mountains for us to make it work.
Spera's path toward cinematography began with an interest in still photography, which she decided to pursue in college. There, her focus began to shift from stills to motion pictures. I started shooting everything I could, she reflects. I moved to New York the minute I graduated, and I took every opportunity that came my way. I made a rule for myself that I was never going to say no.' I learned by being on set, making a lot of mistakes, and following a deep passion for visual storytelling.
In the years since, she's built a r sum that includes such feature credits as Black Rock, Submission, Dude, Alex Strangelove and Duck Butter, the latter of which partnered her for the first time with producer Natalie Qasabian. When Qasabian began working on Run, she reached out to Spera and introduced her to Chaganty, who had written the script with writer-producer Sev Ohanian. Spera recalls that when she met with Chaganty, We hit it off right off the bat. We had a lot of shared references and were thinking about the movie in a similar way. He really impressed me with his preparedness and the way he was conceiving the movie, but also his openness to collaborate. Sev and Aneesh wrote the script with a lot of room to build visually, so I was excited about the potential of where it could go from a visual standpoint.
During preproduction, Qasabian, Chaganty and Spera formed a tight-knit group that came to their creative decisions together. Everything was up for discussion, the cinematographer recalls. For example, I pitched the idea of shooting anamorphic, and we collectively discussed why I thought it would work. It was a fun exercise to make sure the group all believed in the decisions we were making. I think the film is stronger because of that trust and support.
Regarding the choice of anamorphic, she explains, The rooms in the house had frames within themselves that I thought anamorphic could complement, adding a more textured, almost 3D quality to some of the images. It was a good challenge, because we shot in such small spaces. I'm grateful to 1st AC Doug Lavender for being up for the challenge, even though we lived on diopters, often close to wide open. He mounted a retractable pointer onto the matte box for some of our macro close-ups where there was such a shallow depth of field, and he would use that to show Kiera how far she could lean in, so she would have a physical reference of what she could and couldn't do. I thought that was brilliant.
After testing a number of options, Spera opted for Panavision's E Series anamorphic lenses, which she supplemented with a few wider-angle T Series focal lengths, including 35mm, to preserve the architectural lines inside the house. I fell in love with the E Series right away because they're older and have a beautiful vintage-glass quality, she explains. Aneesh and I talked about making the film feel a little timeless and not necessarily modern and sharp, and the Es have a softer quality that really helped to elevate the images and complement our style.
Spera and Chaganty storyboarded the entire movie during preproduction, and the cinematographer notes that the final shots matc
