‘Sinners’ Cinematographer Makes History: Stunning Juke Joint Scene Shot on 65mm IMAX!

Warning: Plot Details Ahead

CAUTION: The following content reveals key plot elements from Ryan Coogler’s movie “Sinners,” which is currently showing in cinemas.

Cinematographer Autumn Durald Arkapaw vividly recalls the moment Ryan Coogler shared the screenplay for “Sinners” with her.

In January 2024, just a day before she was set to begin filming “The Last Showgirl,” Coogler emailed her, seeking her insights on his very personal script. She ended up reading the entire script in one go later that same evening.

“It completely took me by surprise. I was unaware it was set in a different era or that Michael [B. Jordan] was cast in the roles of twins,” Arkapaw shared with The Bangin Beats. “I wrote him a lengthy email with my feedback. He often jokes about it because it’s rare for me to read something straight through in one sitting, but I just couldn’t put this script down.”

Trending on The Bangin Beats

In the midst of the ferocious and seductive vampires in “Sinners,” there lies a narrative deeply embedded in cultural and historical layers, with blues music at its core. Set in the 1930s in Mississippi, Jordan portrays twins, Smoke and Stack, who venture back to the Deep South to set up a juke joint. Their cousin Sammie (Miles Caton), a young sharecropper and son of a pastor, who has a deep love for music and possesses a 1932 Dobro Cyclops guitar, is enlisted by the twins to perform at their establishment. However, his singing does more than just entertain; it summons a malevolent spirit that haunts the town.

While Arkapaw agreed to join the project, there were still details to be finalized. Initially, they planned to use 16mm film. “It evolved through several discussions,” Arkapaw explained. “The studio called Ryan with a query regarding large format. Ryan got in touch with me suggesting we should consider this option.”

Arkapaw’s first action was to contact FotoKem film lab to discuss shooting on 65mm. “We conducted a test in the Lancaster desert, exploring IMAX, a 65mm 15-perforation film frame, and 5 perf 65mm. Ryan had mentioned ‘The Hateful Eight,’ envisioning extensive landscape shots. We reviewed some test footage from ‘The Hateful Eight’ and ‘2001: A Space Odyssey’ among others, which Andrew Oran had projected in 70mm. Ryan was drawn in close to the screen and realized, ‘This is what I’ve been missing.’ After our test, we knew we had found our medium,” she recounted.

A particularly transformative scene in “Sinners” isn’t the violent confrontation with vampires but rather a moment when Sammie plays with intense passion, drawing tribal dancers, electric guitarists, and hip-hop DJs to the dance floor. This scene, dubbed “The Surreal Montage” during production, showcases Arkapaw’s skill as she captures a blend of historical and modern Black music and dance. “It involved a lot of planning, rehearsals, and coordination with the visual effects team to choreograph this scene,” Arkapaw noted, mentioning the sequence transitions from reality to a surreal vision where the camera ascends to the roof and then descends back into a fiery exterior shot, introducing three pivotal characters before returning to the main narrative.

The three indoor shots were executed using a Steadicam and shot on 15 perf IMAX (65mm running horizontally). “There’s a VFX element where we tilt up to the burning roof, a plate we shot on the final day. This then shifts to a night exterior shot using a 50-foot techno crane that pulls back to show them dancing amidst the remnants of a burned mill,” she described. The scene also subtly reveals three observing vampires from afar.

“This sequence is layered not just in execution but in its reflection of ancestry, music, and cultural roots,” Arkapaw added. “It was both challenging and enjoyable to film, and it turned out to be quite powerful, resonating with a diverse audience and sparking meaningful discussions.”

Production designer Hannah Beachler played a crucial role by constructing realistic sets. “It’s essential for the actors to feel they are in a tangible space, not just navigating around film equipment. This realism not only enhances performances but also sets the tone for everyone on set,” Arkapaw emphasized.

Regarding lighting, Arkapaw chose to illuminate primarily from above, allowing greater freedom for camera movement, especially given the wide film format. Beachler added lanterns and string lights which Arkapaw utilized as practical light sources, enhancing the scene’s authentic ambiance.

Watching the scene is emotionally stirring for Arkapaw because of its symbolism. “As the camera pans down, you see the mill has burned down, but the people remain, resilient, still dancing and singing. It speaks to the indestructible spirit of the community, a theme deeply personal to my own family history. Being part of this was truly special,” she shared.

In portraying Jordan as identical twins, Coogler insisted on realism, so traditional techniques like split screen and minimal face replacement tech were used. “We planned meticulously to determine which scenes could be shot using split screen or in-camera effects, and which would need machine learning and our halo rig,” Arkapaw explained. “Once on set, much of the pressure fell on Michael to deliver consistent performances multiple times under tight schedules and changing natural light conditions.”

Arkapaw, the first woman cinematographer to use 65mm for a major film, also sought advice from Hoyte Van Hoytema, who had worked on Christopher Nolan’s “Oppenheimer” using the same film gauge. “Drive it like you stole it,” Van Hoytema advised, encouraging her not to be daunted by the larger format or equipment. “He was right; the size never hindered us. We employed cranes, Steadicam, handheld shots, and simply told our story in the most effective way possible. Looking back, I fully grasp what Hoyte meant. It’s exhilarating to work with such dynamic and impactful visuals,” Arkapaw concluded.

Similar Posts

• Sinners Scores 97% — But Does Ryan Coogler’s Vampire Musical Glorify Violence?
• Denzel Washington’s Advice to Michael B. Jordan: Avoid Overexposure to Stay a Star!
• IMAX Secrets Revealed: Discover the Real Difference Between ‘Filmed for’ and ‘Shot With’ Imax!
• ‘Happy Gilmore 2’ Shocker: Director and Star Justify Surprising Early Death!
• George Clooney Confirms: Ocean’s 14 Shoot Scheduled in Just 10 Months!

Blake Harrison

With a knack for uncovering hidden gems, Blake dives deep into the world of indie films and underground cinema.