The season’s most talked-about visual gambit was shooting it all on 35-millimeter film stock, specifically Vision3 500T and Ektachrome reversal that Levinson and Rév talked Kodak into reviving. Despite the chaotic precision achieved in scenes like these, no Steadicams were used during the season. Those remarkably energetic, sometimes noirishly lit traveling shots were done with dollies, cranes and handheld cameras. Frantic business backstage was inspired by Bob Fosse’s 1969 “Sweet Charity” movie like everything at EHHS, that was filmed on sets built with camera movement in mind at the Lot in West Hollywood. Rév employed more mirrors for a Magritte-inspired shot of Nate looking at the back of his head, one of several fine-art references scattered throughout the season (Rév studied at Budapest’s University of Theatre and Film Arts, where he took a master class from the late Vilmos Zsigmond). Another similar trick was the mirror gag, when you think you’re in Cassie and Lexi’s bathroom we push through the mirror onto the stage and look at Lexi from behind as she talks to the audience.” “For example, we used camera moves to connect scenes in Rue’s bedroom to what you realize is not her bedroom, but a set on the theater stage, and then she’s watching the scene unfold from the audience. “We tried to blend these things together in a way that still makes sense, but you can’t always decide where you are at the moment,” Rév says. Rév’s cameras make emotionally loaded moves between the action onstage, reactions in the seats, past incidents that inform “Our Life” and events taking place off campus. Her best pal Rue (Zendaya), sister Cassie (Sydney Sweeney), idol Maddy (Alexa Demie) and insecure jock Nate (Jacob Elordi) are among those amused or outraged as they watch classmates act out their drug-addled, sex-charged personal dramas. In it, East Highland High School’s sole “good” girl, Lexi (Maude Apatow), presents her semiautobiographical stage play “Our Life” to a packed auditorium. That aesthetic reaches its exponential extreme in the season’s penultimate episode, “The Theater and Its Double,” for which Rév has been Emmy nominated. “‘It has to have a feeling of incompleteness, something distant, fractured but familiar.’” “The first thing I wrote down after talking with Sam about Season 2 was ‘every scene or image should feel like a piece of broken memory, an echo of something we wish or imagine,’” Rév says via video call while visiting his native Hungary. The “Euphoria” kids are older but no wiser in the teen drama’s second season, and cinematographer Marcell Rév was determined to reflect that.
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