Bryan Fullerhas one of the most recognizable visual signatures in modern television. Whether he’s dealing with a forensic pathologist who bakes pies (Pushing Daisies) or a sophisticated cannibal (Hannibal), his work consistently balances the grotesque with the gorgeous. His style of hyper-stylized morbid surrealism was influenced by French maximalism in the 90’s, such as Jean-Pierre Jeunet (Delicatessen,Amélie). “BetweenDelicatessen,City of Lost Children,andAmélie,there was this experience I had in the 90’s and early aughts watching those films that gave me permission to push harder and go further in aesthetics that were on television,” Bryan explains.
With his latest project,Dust Bunny, Bryan makes the leap from showrunning to feature directing, bringing his unique aesthetic to a dark fantasy-thriller. His decades of experience absorbing highly visual cinema have all led to this moment. “When I look atDust Bunny, I’m like, that’s a Barry Sonnenfeld shot. That’s a John Carpenter shot. That’s a Spielberg, because I’ve consumed all of these things and digested them and pooped outDust Bunny.”
Despite Bryan’s self-deprecating description of the creative process, he was extremely meticulous about the filmmaking process. Cinematographer Nicole Hirsch Whitaker, ASC presented a comprehensive pitch deck that became the roadmap for the film’s visual identity. “After the meeting, presenting her whole board with all of these images… she wanted the job and did a lot of work to show how she wanted the job,” says Bryan.
Nicole, who shares Bryan’s reverence for the same films, dove deep into the script to pull references ranging fromLeon: The ProfessionalandThe Haunting(1963) to the raw, intimate photography ofNan Goldin. “I do think that it’s important to make a good impression,” she says. “The deck is an impression of yourself as an artist that you leave behind.”
During the interview, Nicole shares the pitch deck she made forDust Bunnyand discusses it in detail.Watch on YouTube or link to ithere.
The most radical visual choice inDust Bunnyis its aspect ratio. It’s shot in an extreme 3:1 format (three squares wide), which is almost unheard of in modern cinema. This creates a triptych feel, where the frame is so wide it feels like a mural. It forces a sense of vertical claustrophobia, crushing the top and bottom of the frame. The camera emphasizes the floorboards and the space under the bed—precisely where the monster hides.
This discovery occurred while Bryan and Nicole were testing lenses. Once the framing matte came off the lens, revealing the open gate width of the sensor, Bryan realized the wider view fundamentally changed the film’s psychology. A subject centered in a 3:1 frame felt isolated in a way they hadn’t before, sharpening the camera’s emotional point of view. To further isolate the characters, Nicole tuned the ARRI Alpha anamorphic lenses to fall off at the edges, ensuring the audience’s focus remains locked on the performance.
WhileDust Bunnywas shot over 44 days in Budapest, the film’s visual language was decades in the making. For Nicole, the challenge was translating a legendary showrunner’s mental gallery into a physical reality. For Bryan, it was a homecoming to the cinematic influences that first gave him permission to be “too much.”
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SHOW RUNDOWN:
02:23 Close Focus
07:01 Bryan Fuller interview
24:46 Nicole Hirsch Whitaker interview
01:06:23 Short ends
01:13:16 Wrap up/Credits
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