The Ghost Writer

Frames from "The Ghost Writer"

Project Overview: "The Ghost Writer" is a short film written and directed by Todd I. Gordon, produced by Frauhaus Pictures NYC and Samba Film Works, and starring the legendary actor Nick Wyman, known for his roles in "Die Hard with a Vengeance," "Catch Me If You Can," and "The Bonfire of the Vanities." I had the privilege of serving as the Director of Photography for this project.

Working on "The Ghost Writer" was a rewarding experience that allowed me to explore various techniques to visually bring the story to life. I'm proud of the collaborative effort and the results we achieved.

The Ghost Writer Visual Breakdown:

In 'The Ghost Writer', the script delves into the intricate layers of Dr. Itiksohn's world, where the boundaries between reality and illusion blur. As the narrative unfolds, we witness the struggles of an aging writer grappling with the ghosts of his past, both literal and metaphorical. Cinematically, we aimed to capture the essence of confinement and release that permeates the script. The visual language evolved, mirroring Itiksohn's journey of self-discovery. The initial scenes, set in the stark environment of his isolated living space, are characterized by static shots and dim lighting, reflecting the mental imprisonment of the protagonist. We used framing, movement, lighting, filtration, and shutter speed alteration to differentiate the characters, the real world, and the hallucinations.

Framing and Movement:

We kept the camera static when focusing on Dr. Itiksohn to emphasize his feelings of confinement and the stagnant nature of his world, mirroring his mental and physical imprisonment by age and deteriorating mental health. We used a shallower depth of field to reinforce that feeling of isolation and confinement. Extreme close-ups during his frustrated moments further highlighted his lack of ability to see things clearly.

Additionally, we utilized dolly shots specifically within Itiksohn's hallucinations. This intentional departure from locked-off shots in the imaginary world was done to emphasize a perceived sense of control that Itiksohn experiences within his fantasies. Conversely, we maintained locked-off shots in the real-world scenes to emphasize his lack of agency and his role as a prisoner to his physical and mental limitations. This approach visually articulated the stark contrast between Itiksohn's internal world, where he navigates through hallucinations with a degree of control, and his external reality, where he grapples with the harsh constraints of his condition.

We crossed the 180-degree line intentionally at the right times to further emphasize his disorientation.

We used tracking shots when following Olga to emphasize her movement and the dynamism she brought to the narrative. Introducing movement when showcasing Olga was done to signify the outside world, change, and vitality. This technique effectively highlighted the contrast between Itiksohn's internal struggles and the external factors influencing his reality, conveying the idea that the external world is in flux while Dr. Itiksohn remains static.

We framed Itiksohn within the confines of his surroundings, using door frames, windows, or other elements to reinforce the sense of imprisonment. We framed Olga with more open compositions to allow visual breathing space and a sense of liberation.

We used unconventional framings when Itiksohn became frustrated to emphasize his frustration and helplessness. For instance, framing him in a Dutch angle gives the audience a feeling of disorientation, used when he is in the closet trying to get out or reacting to Olga out of his paranoia.

Lighting:

The cinematography in "Ghost Writer" strategically employed limited and subdued lighting within Itiksohn's interior space to underscore his mental confinement and the profound impact of dementia. We allowed only the soft daylight from outside to gently illuminate the room to create a visual representation of Itiksohn's confined and isolated mental state. The deliberate contrast between the external brightness and the dimly lit interior was used to serve as a poignant metaphor for the boundary between the outside world's perceived clarity and the internal realm clouded by the shadows of dementia. This intentional use of lighting not only served the practical purpose of visual storytelling but also became a powerful symbol for the character's cognitive struggles and the elusive nature of memory within the narrative.

The soft, grayish daylight streaming in from outside the windows bathed the objects inside Itiksohn's home to metaphorically delineate the external world from Itiksohn's internal reality. This deliberate choice aligned with the overarching theme of confinement and isolation within the narrative, portraying Itiksohn's struggle with dementia as a lived experience in a world that remains dimly lit, both physically and metaphorically.

In the concluding scene, a rare moment unfolded where Itiksohn experienced a somewhat heightened mental state compared to the preceding scenes. His command to Max, directing him to take the dogs, potentially embodying memories, regrets, or unresolved issues, took on the profound symbolism of a symbolic act of letting go. Through this directive, Itiksohn endeavored to unburden himself from the weight of his past and the confines of his prevailing mental state. We framed Max's character from an overhead perspective in this final shot, coupled with the introduction of subtle camera movements, to accentuate the perceptible elevation in Itiksohn's mental state. As the shot progressed, we used a strategic pullback and descent, concluding at the back of Itiksohn's head, to allow the audience to linger within the confines of Itiksohn's mind, leaving a lasting and contemplative impression.

Originally, I planned to film this shot using a DJI Ronin 2 gimbal, aiming to start on the standing actor's face and then pull back and down to the back of the sitting actor’s head, ending the film with a lasting impression. This shot was crucial because the film revolves around the protagonist's mental state, and concluding with the back of his head would leave a profound impact.

However, we encountered issues with the gimbal. Determined not to abandon this pivotal shot, I collaborated with my incredible gaffer and key grip, Mike Kyriakides and Jacob Love, to come up with a solution. We constructed a descending T-dolly track to achieve the desired camera movement.

Since the standing actor is an apparition and disappears as the protagonist commands him to leave, this is the first time we see the protagonist in a somewhat elevated mental state. After his command and the apparition's disappearance, we brought the camera down to emphasize his rising in the frame, expressing his elevated mental state.