On Jojo Rabbit, his first film with Taika Waititi, cinematographer Mihai Malaimare Jr. played an essential part in developing the vibrant aesthetic of a tonally complex piece. Based on a novel by C…
) and George Tillman Jr. , Malaimare Jr. was in Atlanta, doing reshoots on the latter film, before he was flung into a singular world of Waititi’s creation.Subsequently, in Prague, the DP worked with the director to hit upon the right cinematic language for the film—a look and feel neither too light nor too dark. Ultimately, the pair developed a loose set of rules for the camera. “Our main rule was, ‘Let’s not go handheld at all,’” the DP says.
What was interesting about it is that we actually chose something that was done before, but not a lot. The only other project that comes to my mind is, Gus Van Sant’s movie, where you can use anamorphic lenses for 1.85 by just cropping to 1.85. That’s not really the best way to go, because you lose the best qualities of an anamorphic lens, but there is a way where, if you use the 1.3 anamorphic lenses, you actually get something very close to 1.85.
But the part of the process that was really amazing was that we storyboarded only the war scenes, and that was mainly because we knew we’d be using three or four cameras, and [they] would be very chaotic days. But the way Taika works, which was really great, was allowing enough time for rehearsals and for blocking the scene, and then for us to figure out how we wanted to capture that. That’s how you get really amazing performances.
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