Lenny Abrahamson’s guide to shooting in a… | Little White Lies

First Person

Lenny Abrahamson’s guide to shoot­ing in a con­fined space

14 Jan 2016

Words by Adam Woodward

A man reading documents in a room with children seated at a table, one child raising a finger.
A man reading documents in a room with children seated at a table, one child raising a finger.
The Room direc­tor reveals the logis­ti­cal tricks that made film­ing in a claus­tro­pho­bic set­ting possible.

Room is the beau­ti­ful and inti­mate new film from Irish direc­tor Lenny Abra­ham­son (What Richard Did, Frank). It tells the sto­ry of a young moth­er who, owing to the extreme cir­cum­stances into which she has been forced, rais­es her son in com­plete iso­la­tion from the out­side world.

Adapt­ed from Emma Donoghue’s 2010 nov­el of the same name, the film rais­es some tough but vital ques­tions about the human con­di­tion, specif­i­cal­ly the extent to which our world­view is shaped by our imme­di­ate surroundings.

From a sto­ry­telling point of view, what’s per­haps most inter­est­ing about Room is that it ini­tial­ly unfolds in a win­dow­less 11×11 ft gar­den shed – a set­ting which pre­sent­ed both cast and crew with numer­ous chal­lenges. Here, Abra­ham­son offers an indis­pens­able five-point plan to get­ting the most of out of a tight inte­ri­or setting.

The room was fin­ished three weeks before we start­ed shoot­ing, so Brie and Jacob were able to spend the full rehearsal peri­od in the room. They spent a lot of time just get­ting famil­iar with the space and even did things like mak­ing the mobiles and home­made toys that dec­o­rate it. It was a real­ly good way to get them to bond.”

The biggest tech­ni­cal chal­lenge was get­ting every­one we need­ed in the room at the same time. It was like a game of Tetris. Each day we would work out the logis­tics for stuff like where the focus puller would stand, where the cam­era oper­a­tor would stand, and always try to make sure the actors felt as com­fort­able as possible.”

On any giv­en day there’d be a min­i­mum of five peo­ple in the room – some­times as many as sev­en or eight – in a space you’d feel claus­tro­pho­bic in if there were two of you. We had to pull focus from mon­i­tors quite a lot, which is some­thing I real­ly don’t like doing, although sad­ly audi­ences are used to nowa­days. We nev­er cheat­ed by remov­ing walls, but occa­sion­al­ly we’d take out a pan­el from the ceil­ing and have a boom oper­a­tor come in from a lad­der outside.”

Ini­tial­ly, we wor­ried about how we were going to keep the space inter­est­ing, but what hap­pened was we start­ed to divide the room into sub-loca­tions. When you’re a kid, your aver­age liv­ing room might con­tain mul­ti­ple worlds, so we start­ed to look at the room through the boy’s eyes. Ulti­mate­ly that allowed us to mir­ror the way he sees the world.”

Anoth­er chal­lenge was: how do we tell the sto­ry from these two con­trast­ing emo­tion­al per­spec­tives – for Brie’s char­ac­ter, we tend­ed to use wider lens­es to remind the audi­ence of the oppres­sive phys­i­cal dimen­sions; with Jack we tend­ed to shoot in close-up and cut from his face to what­ev­er it was he might be look­ing at. By work­ing in that way we were able to use the lim­it­ed neg­a­tive space to con­vey Jack’s posi­tion of inno­cence and wonder.”

Room is release 15 January.

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