Here's what Kormákur said about creating that kind of antagonist: And he’s an older gentleman, so no disrespect, but I think he was extremely happy both when he got through it and also when he saw the film I think was surprised how well this came together.” But Philippe was a little overwhelmed in the beginning. But I also had a great operator called Dale, a South African guy who was tremendous help, both for me and Philippe, so together we solved this. And also, some of it is preconceived with the storyboards and stuff like that, and then some of it is also just worked on set because there’s always that element that comes to you by surprise. I told him, this is the way we were going, and I think he was pretty scared, you know? But then again, I had done a bit of it, not to this extent at all, and I enjoyed that part of the work a lot, creating the movement and the choreography. There’s nothing in his work that suggested he can do these oners. I like his sensuality, his French sensibility in his filming, and his lighting I was going after. “His older films, Queen Margot, the French movie, A River Runs Through It, and then Fantastic Beasts, so he obviously has a long history and also a long range. Yes, Rousselot has been delivering stellar work for decades, but Beast is a rather unique challenge, so what exactly was it about Rousselot’s body of work that made Kormákur think he was the DP to capture a digital lion attack via oners? Here’s what Kormákur said: Not only was Kormákur creating that point-of-view with top-notch talent in front of the lens, but he also had Academy Award-winning cinematographer Philippe Rousselot behind it. I convinced them and I think they were very pleased when they saw the outcome, but for me, it’s all about giving you the feeling that you are there with the characters so it feels more point-of-view.” So I was very adamant about presenting this to the studio and having them approve because it’s an unusual way of shooting blockbusters. Because obviously, Jurassic Park, a way bigger budget and bigger creatures, and so by getting you stuck in a shot, up the emotional claustrophobia of being stuck, being one of the characters in this situation. “I wanted to try to set this film apart from other films of this genre and try to bring something different to the table.
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