As theaters tentatively start to reopen around the U.S. without the usual glut of studio product to fill their screens, there’s an opportunity for filmmakers who previously might not have edged the…
. Aiming for something more “exotic” than his own Toronto environs, he discovered locations in Luxembourg and the Belgian city of Charleroi that helped set up what he was looking for — a landscape seemingly disconnected from time and reality. Still, when it came to the fateful wedding, he was unable to find an existing space that could meet the story’s Grand Guignol impulses, which would see the place sprayed with bullets and painted with blood.
Producers Jesus Gonzalez-Elvira, Amber Ripley and Sebastian Schelenz had introduced McDonald to Belgium-based production designer Eugenie Collet and her frequent collaborator, art director Florence Vercheval, who located a soundstage that could more or less accommodate the mayhem — with a few adjustments.“We had one wall and a half for this whole big ballroom,” says Dutch cinematographer Richard Van Oosterhout .
Leaning into the hallucinatory title of the film, McDonald relied on the instincts of his design team, even if those impulses often subverted his own. The director says he had envisioned the wedding scene in an old castle or chateau. “My challenge was to dump what I had previously imagined while in a writing vacuum and embrace these very talented people with way more knowledge than I had about design.
Van Oosterhout says McDonald’s self-assurance created a collegial environment that empowered everyone to contribute freely: “Bruce is so full of confidence that it triggers everybody to give their best.” McDonald says he enjoyed making a film that, early in the production process, set an inclusive tone. “I said, ‘I’m the visitor here; I’m going to depend on you,’ he explains. “I was very lucky to have people who had vast experience — and I think they all had a pretty good time because I was pretty open to their suggestions.”
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