Crafting the love and madness in Joker: Folie à Deux

An intimate look into Arthur Fleck’s journey

In “Joker: Folie à Deux,” there is a poignant scene where Joaquin Phoenix’s Arthur Fleck, deeply entrenched in his complex psyche, awaits sentencing. Determined and defiant, Arthur dismisses his defense attorney, opting instead to represent himself. The drama intensifies when Harleen “Lee” Quinzel (portrayed by Lady Gaga) pays him a visit in his dimly lit jail cell. As she leans in for a kiss, the guard’s stern “No touching” echoes through the silence.

Cinematic brilliance through simple setups

For cinematographer Lawrence Sher, creating this scene was all about minimalism and efficiency. Sher chose a two-camera setup that allowed for something unconventional: a cross-shot technique. “We shot and lit both close-ups simultaneously,” Sher mentions, enhancing the authenticity and raw emotion of the moment.

“We positioned clear story windows on one side,” says Sher, explaining that these windows were just the right size to let in light, casting a soft backlight on Arthur and a warm glow on Lee. This backlight, combined with a fluorescent strip running down the center of the hallway and above Arthur’s cell, created a powerful contrast. Lee, embodying the warmth and love in the film, required a different lighting approach, and this was executed flawlessly to enhance her close-ups.

The contrasting palettes of love and shadow

Lee’s fluorescent lighting contrasted starkly with Arthur’s cooler tones. “It’s the familiar ‘Joker’ aesthetic—warm and unsettling. His side appears a bit cooler, reflecting the shadow side of Joker, the part that draws Lee in,” Sher explains. This meticulous attention to lighting underscores the duality in Arthur’s character and his relationship with Lee.

The color palette, influenced by the interplay of windows and fluorescents, allowed production designer Mark Friedberg to build versatile sets enabling 360-degree shots. This flexibility was crucial for the dynamic and interactive lighting that Sher envisioned.

Technological mastery and visual continuity

The unique visual style of “Joker: Folie à Deux” continues with the use of ARRI’s Alexa 65 large format camera. Sher praises this format for its ability to render close-ups with a portrait-like quality, softening the background and focusing the viewer’s attention entirely on the characters. “Even with wider lenses, the Alexa 65 ensures that the characters remain the focal point in every shot, a quality I deeply appreciate,” Sher adds.

Central to maintaining visual continuity with the first film, the spherical lenses played a significant role. Sher utilized a selection of hero lenses, including the 35mm Zeiss compact prime, the Nikkor 58mm close focus, the Prime DNA lenses, the Leica Macro-Elmar 90mm, and the ARRI Signature 350mm. These lenses’ unique characteristics contributed to the film’s distinct visual narrative.

Capturing romance amidst chaos

Sher reveals that at its core, “Joker: Folie à Deux” is a romantic movie. It explores the intricate and tumultuous relationship between Arthur and Lee, two souls burdened by a shared madness. “It’s a character study of two human beings meeting each other through shared insanity and Arthur’s struggle with his shadow self,” Sher reflects.

Interestingly, for the initial minutes of the film, Arthur remains silent. His first interaction with another character occurs during a transfer to another ward for an interview. At the end of the hallway, a beacon of warm light signifies Lee’s introduction. “Lee steps out into the hallway, bathed in warm side light, and smiles. This moment symbolizes the warmth and light she brings into Arthur’s life,” Sher explains.

Innovative lighting brings the story to life

Sher’s approach to lighting in “Joker: Folie à Deux” is nothing short of artful. The fantastical and musical elements of the film allowed for a vibrant and interactive lighting design. “We experimented with bold primary colors—reds, blues, and greens—adding depth and dynamism to the scenes,” Sher notes.

Mark Friedberg’s set designs, coupled with Sher’s innovative lighting techniques, created scenes that are visually compelling and emotionally resonant. The film’s unique use of aspect ratios for IMAX screens further differentiated it from its predecessor, enhancing the overall viewing experience.

As the narrative weaves through madness and romance, Sher’s cinematography stands out, transforming each scene into a canvas of emotions painted with light, shadow, and color.

Stay connected with us for more in-depth analyses and behind-the-scenes insights into your favorite movies. Follow our updates on various platforms and keep the conversation alive by sharing this article with friends and fellow cinephiles.