One of the big products that left the tv in the 2019 was Euphoria. With the leading of Zendayathe series focuses on showing everyday problems in the adolescence of millennials, such as depression, over-exposure and addiction.
Over 8 episodes aired on HBO and available on its digital platform, the fiction managed to capture the attention of a very broad audience through a photography masterclass. To this was joined great performances from a cast that managed to reflect virtually all the stereotypes of a teenager who today travel the world.
One of the 4 directors of photography of the series was Adam Newport-Berra, who came to shoot the last two chapters and ended up working in scenes of almost all the series, correcting some of the problems with shots that did not add up to its showrunner, Sam Levinson. “I started doing television in Euphoria, I don’t know if I was avoiding or didn’t know what I wanted,” said Newport-Berra referring to his first work on the small screen.
RP.- What did that add to the series?
Euphoria I found it very interesting, I liked it Sam Levinson, the director, and I could see what they were doing in previous chapters. I like that in a series can explore the characters. I just did two episodes, so that I could try without having to commit to a year of my life to all of the work. I think I ended up shooting scenes for all the episodes, because as I was the last of the directors of photography, I helped to sort the fact.
RP.- What was it that asked Levinson for their work?
I asked for very specific things, it was rather to understand the tone, and why they were doing the series. I made clear that I wanted to contribute my ideas and that I didn’t know whether to join the series because many times, there is a preset formula that you have to respect. Here I noticed that it was not so, each episode was unique and had its own challenges. I was able to put my own seasoning and style.
RP.- How would you characterize Levinson as showrunner?
Sam Levinson it is very good orchestrating without sobredirigir, is able to form a team and make everyone do what’s best without having to tell them what to do. For me it was the best. The show comes to getting the most possible all the time, it took me a few weeks to understand that.
RP.- How prepared each shoot?
The preparation is rare in the series, because as I was late, Sam I had already finished the other episodes while I was writing mine, I spent a little time with him. It was a process very agile of preparation, and I noticed that he likes to do more work on set, is a preparation more conceptual than technical. Many times we were on the set talking about at the time to see what was best.
Sometimes there were scenes more prepared that required certain tools, some wanted a transition specific, but many times, it was to explore on the day. It was stressful and intense, it gave me a little bit of fear because it does not work as well, I like to prepare, with a specific plan, but the series did not work as well. I had to adapt to that. It was fun to the process, it reminded me of what for me was the independent north american cinema of the 70s but with more time and money.
RP.- What was the biggest challenge?
The light was one of the biggest challenges, I like to illuminate a little and everything is more natural. To make things simple. In the series it was not so, it was crazy. It was one of the more complex things, each time you lit up Sam I asked them to put more lights. It took Me a while to see what he wanted, understand that vibrates. After I was able to understand it, when I saw the series what I understood.
RP.- The series concludes with a piece of music, how was it working that time?
I think that part has to do with that Sam it is a romantic and likes to find the beauty in the tragedy, putting a little bit of humor. I wanted it to be fun. It’s a little autobiographical for him because he had some problems similar to those of the characters. It is a dark story, but it is beautiful. It is important to humanize these problems, the series does in general. Is very complex themes in the media are the displays so dark and sad. When sos teenager everything is intense and colorful, vivid, like every day is life or death. Although it is not so, feels so.
We wanted it to be exaggerated, almost theatrical. I tried to make it the best that I could with the lights and the camera, was the pinnacle of the series. It took us a week to illuminate the set while we were finishing up other things. They tried to put a light in every space we could find, for the scene to grow in this thing monumental that was.
RP.- How long were rehearsing the number?
We wanted to rehearse it a lot, but we had no time, it was the last day of shooting. There were many things involved and we had to leave for the end. Zendaya was able to practice the choreography, but we were not able to practice the shots so we had to do it on the fly. Luckily, by that time the team was already streamlined.
RP.- How was it to expect the impact of the music?
I was nervous, I didn’t know how he was going to receive. I’m not really a fan of the musical, is not my style, but this one got to me more because I was more attached to the characters. It felt honest and it was not an exaggeration, that is, exaggerated but with that bittersweet tune (of the series). It was beautiful. (www.REALPOLITIK.com.ar)
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