Visual language

It establishes an aesthetic blueprint that is so distinctive it creates an atmosphere that a rotating carousel of work-for-hire corporate teams could never replicate.

The visual language of the Mignolaverse really is its defining characteristic.

It is the mortar holding the bricks of that gothic mansion together.

I know you're a big fan of the art.

they both are very beautifully shot and realized.

Let's talk about the visual language.

Obviously we've talked about David Fincher's piece, but I think Sorkin is having some, he's making some really strategic intentional choices with the camera.

One of the most striking moments of the film is, is the the opening scene where the camera edges closer to that woman by the side of the road and obviously it's it's not real there's cars swooshing in front and behind the camera the sound it really immerses you in it feels dangerous because what happens after that is incredibly dangerous about this radicalized woman who ends up throwing racial slurs and just abhorrent things towards these cops who had just pulled over to check on her because she's by the side of the road.

You spent years producing exposés for newspapers and magazines.

A documentary rests on the same material but has a narrative and a visual language of its own.

How did that process change when you moved from one form to another? Are there different constraints, different parameters?

It was clear from the start that the documentary had to be 100% factual and that everything in it, I mean, the claims that are being made by soldiers are claims that we would need to to have from multiple sources.

It's also a work of cinema.

And that poses different kind of issues or challenges.

I think one is in And just in the visual language of it, I mean, it's not, you know, we don't use narration in the film.

There's no infographics.

And I think that also it's like this is a, this is a film that throughout is very much built around dissolves and phase and scenes sliding one into the other.

But that's like the most prominent instance of that, where the film is like, not, it's not self, not self-consciously, but it's very confidently like, okay, you have learned to read the visual language of this film.

So now we're just going to have a thing that is pure montage under this song.

Um, now that you've, you've become acquainted enough with the visual grammar that we can feel confident in doing that.

It was one of his watchwords.

And setting out the sort of visual language of Warhammer, the different factions and units and stuff, different details on the miniatures reflected in the 2D art as well.

So I developed a good eye for that sort of thing.

And when I came on board with Mythwalker, there was already a bunch of concept art and a bunch of models done.