The spinoff, which stars Norman Reedus and was shot in France, had different visual ambitions from 'The Walking Dead.' Vive le différence!
in almost every setup, which was very different than the way ‘The Walking Dead’ was conceived.”
“‘The Walking Dead’ was sometimes intended to be a play, where the people were there and the cameras would be on dollies; they wouldn’t be moving fluidly through landscapes and locations,” says Nicotero. “So that was one of the first things that I noticed — the use of Steadicam in almost every scenario to allow the audience to absorb a lot of information as the camera drifts around the set and in between characters.
“I have a very close relationship with my Steadicam operators, and I just say, ‘Go with it,’” Fiorilli adds. “When I’m operating — I love operating — I see what the actor is doing and for me, it’s a ballet. I try to do following shots. I cut when it doesn’t work anymore. If I do a master shot, I’ll do a master shot for the whole scene. It gives a really good continuity to acting. They’re actually playing the scene, not just bits of it. So it was giving them a lot of freedom.
Weil says a lot of inspiration came from art, saying he likes to conceive of sets as a 360-degree painting. “I took many references in contemporary art about accumulations,” he says. “I went to [conceptual artist]. We had places with accumulations of trash, of cars, people keeping things to themselves. I don’t have names in mind, but for the rooftop camp, Korean artists that did things with scaffoldings. And playing with the transparency of the materials.
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