Anna Daniels
True to that statement, the ceaseless wave of life-threatening adversaries and obstacles stalk in and out of the darkness on Ozark like bloodthirsty creatures of the night. It’s only natural, then, that Jason Bateman and the Ozark creative team would want to imbue that world with as many shadows and dark corners as possible. Not surprisingly, Kutchins cited the works of David Fincher (know for using shadowy visuals and muted color palettes), and other modern crime flicks, as key influences on Ozark‘s look in a 2018 interview with Deadline.
“[The goal was] something that really had a coolness, a cold color palette, and felt like it was shot on old Fuji film, like an old European movie. A lot of the references that we used were more modern. This Australian movie, Animal Kingdom, is one that we referenced a lot. We also talked a lot about David Fincher’s movies and the way that he uses the camera.”
As it happens, the shadowy lighting of Ozark is also meant to convey a more accurate visual representation of the real world than many shows and movies usually seek.
“I’m trying to use as many practical sources as possible. I also don’t personally love the type of photography where you go into a room and an unrealistic number of practicals are on; like, every light is on in the house. I don’t think that that’s the way we live our lives.”
While Kitchens is quick to point out much of Ozark‘s signature look is achieved in-camera, he goes on to admit it’s also done through extensive color-correction in post-production. However Kutchins and Ozark‘s creatives are making it happen, there’s little argument the series’ brooding visuals achieve the desired effect, dramatically bolstering the relentless tension surrounding the Byrdes, even if we can’t always tell what’s happening on the screen.
Written by: Looper
