Director Stephen Williams goes behind the scenes of this week’s astonishing episode of WatchmenHBO
. “I'll be honest,” Williams says, “There were times when we were shooting when I wished we could do the movie version of Hooded Justice’s origin story because there’s just so much to explore. White supremacy historically is obviously not just about African people or people of African descent. It’s been anti-Semitic, anti-pigment, and anti-anybody different. It just felt like if you’re going to be tilting at the windmill of white supremacy, then the inclusion of anti-Semitism feels natural.
Other shots, like the hug captured above, were much more technically involved, whether it was the use of motion control on the camera or wiping into black behind somebody’s head. When put together, it felt like one, seamless camera move, even though it was comprised of at least two.To keep viewers grounded and oriented through Angela’s drug trip into the past, Williams was incredibly rigorous about telling the story from Will and Angela’s point of view.
“That was a hugely complicated shot,” Williams says. “It involved the operator handing off the camera to grips who were standing on the ladder with a pulley system that then hoisted the camera up on a real branch in a real tree in a real cemetery. We counted off however many seconds that we wanted, and then dropped the camera back into the waiting arms of our camera operator.
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