Wednesday, September 28, 2022
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HomeEntertainmentCinematographer Matty Libatique Takes Us Behind The Scenes Of Don't Worry Darling

Cinematographer Matty Libatique Takes Us Behind The Scenes Of Don’t Worry Darling



How did you come to be involved with “Don’t Worry Darling,” and how it was different to shoot from your first collaboration with Olivia Wilde on the short film “Wake Up”?

It wasn’t that different in terms of the collaboration with her as a director. It’s so easy for her. She’s effortless in the way she could explain what she’s after, and the atmosphere of it. It happened on the short we worked together on, and it happened on this film. Obviously, the film “Don’t Worry Darling” was on a bigger scale so there was a little more to be concerned with, but the general core of it was an easygoing collaboration.

As we were shooting “Wake Up,” she mentioned this film, but she was pretty vague about it. She said, “It’s a science fiction film set in the 1950s about Palm Springs.” Well, that sounds intriguing, but I was already on something … and then the shutdown happened.

I didn’t know this, but she was meant to shoot in June. It was the early summer of that year, in 2020. They had to push. I was on something else, so I couldn’t even do the film, and then she called me sometime in late August or early September and said that she was rebooting and [asked if] I would consider coming on, even though she had prepped the movie.

I didn’t ask too many questions about why or what had happened. I think she reconsidered the entire film and she was going into a recasting, and I was part of it. I ended up saying yes because I loved working with her, and I was intrigued by it. When she mentioned it before, I couldn’t do it. 

She pitched it on the phone — I was driving. I pulled over and wanted to hear more. She’s mentioning things like the Rat Pack, this idyllic world, and the debauchery and the beauty and the sex, and I was like, “Okay, that sounds like something I would love to do.” 

I met her in person, and we started to chat about the images that were posted behind her on a wall in her office. Slowly but surely, I was getting more and more details [about] her vision about the film. It started there, and because I came in so late, the palette had already been set, the design was set. That first week of prep, I had to hit the ground running and get as much information from her as possible, and then amplify that with more information from her collaborators.

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