Cinematographer William Rexer Discusses His Work on The Testament of Ann Lee, Focusing on Capturing Dance and His Faith in Mona Fastvold.

      The Testament of Ann Lee presents a biography with striking clarity and immediacy, chronicling the life of the Shaker founder in the 18th century. The film alternates between intense violence and profound revelations, capturing the viewer's attention.

      Penned by Mona Fastvold and Brady Corbet, who previously collaborated on The Brutalist, and directed by Fastvold, the film features Amanda Seyfried in a bold performance as a woman irresistibly drawn to spiritualism, regardless of the harsh outcomes.

      Cinematographer William Rexer has previously worked with Fastvold and Seyfried on The Crowded Room and Long Bright River. Additionally, he shot music videos and collaborated with director Baz Luhrmann on The Get Down. The musical sequences in Testament transport viewers to a distinct cinematic experience.

      Rexer and costume designer Malgorzata Karpiuk introduced the film during a special screening at this year's EnergaCAMERIMAGE in Toruń. Their Q&A extended past midnight, after which we convened in a nook overlooking the Copernicus Hotel pool. Read our discussion below in anticipation of Testament's Christmas Day debut.

      The Film Stage: This film represents an extraordinary accomplishment. When did the project commence?

      William Rexer: Our discussions began during The Crowded Room. Following that, Mona and Brady worked on The Brutalist. While they were editing that, I was working with Mona and Amanda on Long Bright River. So, we spent over a year discussing it, followed by two months of preparation—which is quite rare for a film of this scale. Then we shot for 34 days.

      You’re serious—your shoot spanned Sweden, the U.S., and Hungary in just 34 days?

      Most of it took place in Budapest. About eight months before production, we filmed for two days in upstate New York and around Pittsfield, Massachusetts. It snowed on the second day, and we ended up using that footage. The circular barn where Amanda dances and the children playing in the snow were all part of that initial shoot, which we conducted with a small four-person crew to create a teaser that Mona used to secure funding. It was also a way to gauge audience interest.

      We were also testing the film's style and format. Mona had considered using 16mm for the first part to create a neorealist vibe, switching to VistaVision once Amanda portrays the older Ann Lee. We discussed it, but much of the film is shot close-up, which would be difficult with a VistaVision camera. Plus, Mona wanted to capture live audio and singing, which wouldn't be feasible with a large-format camera.

      You need to elaborate on those songs, but first: were you familiar with the Shakers? The historical details and portrayal of the sect in this film are remarkable.

      I knew very little. I was aware of the Quakers, but not the Shakers until Mona brought them up. Sam Bader, our production designer, and I like to delve deeply into our subjects. We made at least six trips to Pittsfield and nearby areas and consulted with the Shaker Museum for research.

      Once the Shakers arrived in America, the landscapes of forests, farms, and horizons truly resemble that region.

      Mainly, we shot in Hungary. There are three scenes featuring the Hudson Valley when William [Lewis Pullman] walks through the landscape, preaching outside small buildings. Those were filmed with a three-person crew.

      How much of the film was constructed sets versus real locations?

      The building where the farming takes place is merely a façade. The interiors were filmed in a barn nearby. The next room is located in a Shaker village in Massachusetts, while the scene where William receives a foot bath was shot in Hungary. The grand dance at the end also took place in a barn in Hungary, which Sam modified by removing the walls. There’s a lot of clever filmmaking involved.

      How long did it take to shoot the climactic dance sequence in the barn?

      We had approximately four hours.

      I’m surprised you managed to film such a complex dance routine with many participants in just half a day.

      We were under time constraints. The entire boat sequence where they cross the Atlantic in a storm was filmed in two-and-a-half days.

      You incorporated matte paintings for the anchored ships that evoke memories.

      That was the intention. For the three ships in the harbor, one is real but with painted sails, while the other two are entirely painted. The water is real. It was enjoyable to manipulate elements to achieve the right effect. I even asked colorist Máté Ternyik to add a slight rocking motion to keep it from feeling too stable. Since it’s a matte painting, we had to use effects for the rocking. Inside the ship, however, we shot everything in-camera. Mona would direct the cast, instructing them to "lean left" or "lean right."

      Once you decided against VistaVision, what camera package did you select