DP Robert Elswit On Shooting The Pilot That Launched "The Night Of"

Robert Elswit hadn’t shot digitally prior to “The Night Of.”   The cinematographer’s Oscar winning work on “There Will be Blood”, Oscar nominated cinematography in “Good Night and Good Luck” and many other acclaimed films were shot on film.  Noting the pilot episode would require mostly evening shoots, he saw the opportunity an excellent means of learning the ins-and-outs of the Alexa.

“It was going to be a series of night shoots, and that’s one of the reasons I signed on.  I had never shot digitally and I had just signed on for ‘Nightcrawler.’  This offered the opportunity to really get to know the Alexa,” said Elswit.

Adapting to an unfamiliar camera was just one reason   Elswit was eager to join the “The Night Of” crew.  A long-time fan of series co-creator Steven Zaillian, Elswit felt the production many provide a chance for collaboration.  Based on a BBC mini-series, he read script drafts Zaillian and co-creator Richard Price presented.  While commitments to film production leave little opportunity for Elswit to shoot for television, he was enthusiastic about the authentic representation “The Night Of” gave the New York criminal justice system and the as well as the fleshed out, realistic characters.  He signed on to the pilot hopeful the series would be picked up.

Prep began with conversations about the look.  While Zailian and Price wanted to avoid a documentary style, they requested an “on the street” shooting style : they were looking for shots shrouded in darkness and capturing an emotional impact that felt very “in the moment."  They also wanted the city to be as much a character in the piece as the actors.  Films including “French Connection”, “Serpico” and “Prince of the City” were used as reference points.

Working closely with production designer Patrizia von Brandenstein and Zaillian, Elswit began pre-production.  Outside of von Brandenstein’s complete build of the police station, all locations were authentic NYC settings.  Focusing on a short list provided by the location managers,  Elswit, von Brandenstein and Zaillian reviewed photos of each location.  After they whittled down the selection, Elswit and Zaillian drove to each site, observant of lighting conditions and shoot-ability.  While every location offered its own challenges, some, such as the brownstone where wealthy victim Andrea (Sofia Black-D’Elia) lived, proved particularly difficult to secure.

“We drove all over Manhattan.  We wanted a brownstone in the Upper East Side but with the (increase of shooting) we knew we wouldn’t get the access or the time we needed,” said Elswit.  “There were a few streets in Brooklyn that could pass for the area that hadn’t hosted previous productions.  We were able to lock it down for weekend shoots.”

Ambient light was important for Elswit’s shooting needs, and was what he worked with primarily on the night locations.  Shooting with the Alexa, Elswit was pleased with the camera’s ability to “see more with less light.”  Having a strong understanding New York and the city at night, he generally lit sparingly with practicals in the foreground to capture the emotional tone Zaillian was striving for.

“I know Manhattan, I know the way the cars look (on the street), I understand these locations,” said Elswit.  “There was enough with the practices and ambiance to give the right expression.  The most lights were used were in the apartment – we pushed that.  Otherwise, we didn’t light up and down.”

Once the pilot wrapped, a number of circumstances affected its future expectations.  Executive producer James Gandolfini, originally cast as Jack Stone (recast by John Turturro), passed away, leaving prospects in turn-around.  Elswit credits executive producer Jane Tranter for helping keep both the artistic integrity and the future prospects for “The Night Of” going during the period of transition.

“She had enormous impact.  She’s the best producer you could find.  She made sure Steve got exactly what he needed to make (the series),” said Elswit.  “She knows how to balance a budget and the artistry of a project and not comprise either end.”

Ultimately, when the series was green lit, Elswit was attached to “Mission: Impossible – Rogue Nation.”  While he did not serve as cinematographer for the series, he supplied additional photography as well as timed and color corrected the entire series.  Enthusiastic about the finished product, including the work of DP Igor Martinovic, Elswit is particularly enthralled with the performance of the cast, from the day players to lead actor Riz Ahmed.

”Steve had trouble finding the right actor to play Naz.  Riz Ahmed is eight or nine years older but he’s perfect,” said Elswit.  “In fact, when I knew Dan Gilroy was looking to cast Nick in ‘Nightcrawler’ I told him I knew the perfect guy.”

To learn more about “The Night Of” please visit: http://www.hbo.com/the-night-of