"And I so I walked up to him and said, 'Joss, screw it -- let's just push on. Everyone's going to be fine and we'll eat a little late.' But he said, 'What about the light? Doesn't it look horrible?' 'Fuck the light -- look at Clark, he's in the zone. I think that was the best answer he could've heard and Clark was relieved and we powered through."
The after party scene with the sun rising out of the windows was full of hard shadows that actually works better in black-and-white, according to the cinematographer. But while shooting it, he thought it was going to ruin his career because it looked cheap or raw in color. But then he was relieved when checking it out on the monitor. "There's something about black-and-white that loves the crisp, hard shadows," he explains."It really captured the early morning vibe."
One of Whedon's slight alterations was changing Conrade's gender from male to female by casting Riki Lindhome, which added a new sexual dynamic in bed with the villainous Don John (Sean Maher). But even though the dark scene lacks back light separation on the walls, it works in a naturalistic way, just as "Breathless" did with the soft light wrapping around Jean Seberg and Jean-Paul Belmondo in the bedroom. "It was just this cool, gentle mood, as they fool around while hatching the plot."
There's talk of Whedon wanting to take on "Hamlet" at some point. Maybe the break between production and post on "The Avengers 2" will provide another Shakespeare house party with the same troupe. Hunter says he'll march into battle anytime with Whedon.
Our TOH! review of "Much Ado About Nothing" is here.