Lin sat next to me, and it was pretty much a blind test for him, and we ended up shooting on the DXL2 again. So I went to Panavision, shot tests with different cameras and different lenses, and then we went to the lab and projected them. And he really is a sponge for information. On tick, tick… BOOM!, I asked Lin, ‘How involved do you want to be in the camera choice?’ And he said, ‘I want to learn everything,’ because this was his first movie. Then when we did In the Heights, I again did lots of testing, and I again landed on the DXL2.
I tested tons of cameras for that project and landed on the DXL2.
ALICE BROOKES NIDE SERIES
Lin was also 10 in 1990, so that was where we started creating the look from - this childlike perspective where sometimes the line between dreams and reality are blurred.Īlice Brooks:The first time I used the DXL2 was on the Apple series Home Before Dark. The first number’s called ‘30/90,’ where Jonathan sings about being Peter Pan and ‘finding Never Never Land.’ He doesn’t want to grow up, he doesn’t want to sell out on his dreams. My memory of New York in 1990 is a child’s memory, where color and light and emotions are heightened and sometimes the lines between dreams and reality are blurred, and Jonathan Larson is this childlike artist who doesn’t want to grow up.
ALICE BROOKES NIDE MOVIE
There’s a number very early on in tick, tick… BOOM! called ‘Boho Days,’ with all of Jonathan’s friends, and it reminded me very much of the community of my childhood with all these artists.Īnd so, on the first page of my look book, I put pictures of me and my family when I was 10 in New York, because this movie takes place in 1990, and I was 10 in 1990. Our whole family lived there, and all my father’s friends were always in our house. My father was a playwright, and we had a bathtub in the kitchen. He’s living in Manhattan, in a tenement apartment building with a bathtub in the kitchen, and that was very similar to my childhood. Panavision: How did you come to partner with Lin-Manuel Miranda for this project?Īlice Brooks: We’d met on In the Heights, and on the last day of that movie, my agent sent me the script for tick, tick… BOOM! and said, ‘Lin would like to meet you on Tuesday.’ So I had the weekend to read the script and prep for this meeting, and as I started turning the pages, I was like, ‘Whoa, this could be a scene from my life.’ It’s about Jonathan Larson, who wrote Rent. Chu’s musical feature In the Heights, which itself was based on Miranda’s stage musical.įor tick, tick… BOOM!, Brooks opted to work with Panavision’s Millennium DXL2 camera, which she paired with G Series anamorphic optics supplemented by select T Series anamorphics.īrooks recently spoke with Panavision about her creative approach to the project as well as the career path that’s brought her to this moment.
Behind the Scenes with cinematographer Alice Brooksīased on playwright Jonathan Larson’s autobiographical stage musical, the movie tick, tick… BOOM! marks the feature directorial debut of Lin-Manuel Miranda, who partnered with cinematographer Alice Brooks, ASC.
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