“Just in general, we looked at great films from great authors, including a lot of Kubrick’s films all the way to current filmmakers like David Fincher. “The simplicity of blocking the actors and efficient use of the wide shot was something we recovered from Yasujirō Ozu and Kenji Mizoguchi’s films,” says Amat. Season 1 and 2, for example, also drew on The Conformist and In the Mood for Love while seasons 3 and 4, were inspired by Japanese cinema. Audiences are very visually sophisticated so they notice and value the effort.”īlade Runner remains the “bible” in terms of look design, to which has been added references for each season and episode. The use of wide shots and close-ups are not common for TV. “We don’t use zoom lenses so you have to actually place the camera for the prime lens that you have instead of zooming in. “We’re constantly asking ourselves what we’d do if we were doing a movie,” says Amat who has lensed half of the 40 episodes, with James Hawkinson shooting the other half. Scott has been insistent on a cinematic look to the show from its debut in 2015, urging the creatives to stay away from the visual language of regular TV. Sometimes, guest directors would wonder about close-up shots but we always reassured them by saying, ‘Ridley loves that bold stuff - no need to worry about the conventional shots.’” “Prepping for series 3 and 4 he’d say things like ‘use less fill’ or ‘be bolder’ which encouraged us to pursue bolder ideas. “Ridley has always pushed us to be edgier with our work,” explains Amat. With the fourth and final season streaming in November, IBC365 spoke with cinematographer Gonzalo Amat about creating the show’s retro-futurist look which took its initial cues from executive producer Ridley Scott’s own dystopian noir Blade Runner.
Gonzalo Amat: On the set of The Man in the High CastleĪmazon’s The Man in the High Castle imagines what the world would be like if the Axis powers won World War II.
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