The second season of the Amazon Prime horror anthology seriesTHEMtakes place in 1989 and 1991 Los Angeles. LAPD detective Dawn Reeve is investigating a horrifying murder. As she gets closer to the truth, a dark and menacing force threatens her and her family.THEM: The Scareexplores themes of fear, dark family secrets and the supernatural.
Cinematographer Brendan Uegama was a fan of season 1 ofTHEM, and got a call from his agent to meet with writer, creator and showrunner Little Marvin about shooting season 2. As an anthology series, each season is its own standalone story. Brendan and Little Marvin’s guiding idea was not to make the show look exactly like it took place in the early 1990’s, and discussed how to create a feeling of warmth, contrasted with the feeling of terror in the shadows. Brendan decided to use just two lenses and two focal lengths on anARRI Alexa Mini LF, with everything drastically changing look and tone for episode 7.
On Episode 7, “One of Us is Gonna Die Tonight” ofTHEM: The Scare,Brendan had the opportunity to fully unleash his creativity.Little Marvin decided to direct this episode, and he wanted it to feel utterly horrific, using all of the tools they had at their disposal: lighting, camera effects, and sound. They embraced using as much red lighting as they possibly could throughout the episode. “We had lights in different areas, and we had red from the toy store.” says Brendan. “We had red flares, red cop lights. And Little Marvin’s like, ‘Man, it would be cool if it was even MORE red.’ So I started adding red lights behind all the cop cars and uplighting things, really going heavy with the red. And once we started looking at that, we’re like, ‘Oh, yeah, now it feels like this is a hellscape.’” Brendan chose to use a 4:3 aspect ratio exclusively for episode 7 to make it feel like the walls are literally closing in. After strictly using the same lenses and focal lengths throughout the series, Brendan changed it up for almost half the episode with aPetzval lens, which creates a unique, swirly bokeh in the center of the frame. Along with the red lighting and aspect ratio shift, it helped create a distorted, nightmarish look. (Hear Robbie Ryan’s discussion of using aPetzval lens onPoor Things.)
Brendan enjoyed the creative opportunity to work onTHEM: The Scare.“A huge part of it was the overall excitement to make something great,” he says. “It was exciting to push boundaries and not do formulaic television of any kind.”
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