I don't know about you, but I love a creepy thriller with some deep filmic inspiration. That's why I really dug the look and feel of 'The Man in the White Van', which was shot by cinematographer Gareth Paul Cox. Cox crafted the film’s visual tone to blend a nostalgic 1970s aesthetic with a modern edge. The film begins with a warm, almost idyllic portrayal of suburban life, but as the tension rises, the visuals shift into darker, more monochromatic hues, with large, ominous night scenes representing the growing danger. I was excited to sit down with Cox to talk about this and all the other factors that went into lighting a serial killer in this movie. Let's dive in. NO FILM SCHOOL: The film’s visual tone transitions dramatically from the warmth of suburban life to a more ominous, monochromatic palette. How did you approach these changes in lighting and camera work to evoke these shifts emotionally? GPC: The progression of the color palette and tonality within the film was very important to tell Annie’s story. I’m a huge fan of the 1970s for many reasons, but most of all is the use of color and patterns. So when Director Warren Skeels and I spoke about Annie’s progression through the story, we wanted there to be a deliberate shift when the serial killer gets closer and closer to her. Warren had expressed he wanted the film to feel both timeless but also grounded in the nostalgia of the 1970s....
Published By: NoFilmSchool - Monday, 24 March