Mathieson joined Nakamura for an intense few days toward the end of the grade. “I spent what time I could with it, and then I had to let it go, and that was fine,” says the cinematographer. “I think a lot of films look the same these days because there’s too much fiddling around in the DI. A scene might be slightly underexposed or overexposed, and if you leave it the way it is, there’s a visual rhythm when all the scenes are cut together. If you fiddle with every frame in every single scene, there’s no journey in the film photographically.”
