ComingSoon had the chance to talk with Malum cinematographer Sean McDaniel about his work on the horror movie.

“A rookie police officer takes the final shift at a newly decommissioned station in an try to uncover the mysterious connection between her father’s dying and a vicious cult,” reads the synopsis. “All through the night time, she finds herself barraged by terrifying supernatural occasions whereas unveiling the reality behind her household’s twisted previous.”

ComingSoon: What led you to turn out to be a cinematographer? 

Sean McDaniel: Ever since I used to be a child, I needed to make motion pictures. I had a digital stills digicam that would solely take thirty-second movies, so I used that and easy modifying software program to make brief movies with associates.  From then, on just about all the things has been about making motion pictures. I at all times gravitated towards cinematography, and as I met different folks in school desirous about making motion pictures, I spotted that my place was behind the digicam.

Had been there particular people within the subject who influenced your type? 

There are too many to call. Particularly for this film, Darius Khondji’s work was one thing I thought of lots. Being in a police station for a big majority of the movie, I knew we’d have a whole lot of overhead lighting and particularly fluorescent lights, which Khondji utilized so effectively in Seven. Now we have just a few scenes primarily lit by a flashlight, and Roger Deakin’s use in Prisoners was one other jumping-off level. He actually leaned into the brightness of the beam, whereas nonetheless maintaining the scene very darkish.

How has your method/type advanced through the years? 

I wouldn’t actually say I’ve a specific type. I love to do what’s applicable for the undertaking. That’s a part of the enjoyable for me, doing new issues primarily based on what the story requires. This film, for instance, has essentially the most overhead lighting I’ve achieved for a undertaking. So then the query turns into how are you going to make that really feel moody and scary, whereas additionally constructing a visible language that helps inform the story while you actually solely have one approach to encourage mild. That’s a enjoyable problem.

Okay, so I watched the trailer for Malum — freaky stuff! What was it about this image that made you need to work on it? 

The very first thing actually was desirous to work with the director Anthony DiBlasi. We met on one other undertaking he was producing, and I used to be capturing. I might inform he was an important collaborator, and that’s an enormous a part of selecting initiatives for me. Then once I heard about this reimagining of Final Shift, I used to be particularly . I appreciated the unique lots and noticed a whole lot of potential for increasing that world, and the script nailed it.

If you first heard/learn the synopsis/script, what was your preliminary response — have been there any photos that instantly popped in your head?

The script was an important learn. I’m fascinated by cult tales, and the added investigation factor on this works rather well. On prime of all that, the scares are simply top-notch and have been actually enjoyable to shoot.  There have been positively photos that instantly got here to thoughts when studying the script, however I don’t need to spoil something. One of many massive issues for me was the momentum of the script. It doesn’t maintain again and will get intense quick.

What was essentially the most difficult side of Malum, and the way did you overcome it? 

The film doesn’t take lengthy to get to the horror, and early in our schedule, we hit a degree the place day by day had stunts, SFX make-up/blood, or each. These moments take time to craft, and also you at all times need to push the work so far as you may. However that’s the enjoyable of a undertaking like this!

Do you may have any enjoyable, behind-the-scenes tales in regards to the making of Malum that you could share? 

We had a extremely nice solid, and one in every of my favorites was Yahtzee, the pig. Day one, we have been capturing with a 300lb pig inside an actual decommissioned police station. She did some nice work within the film, and now I can say I’ve seen a pig experience in an elevator.

Additionally, a enjoyable factor for me was capturing some footage on miniDV. We really used my outdated miniDV digicam again from my highschool days. I truthfully was shocked how effectively the format held up.

What was your working relationship like with director Anthony DiBlasi? How difficult was his imaginative and prescient?

I actually loved working with Anthony. He has a transparent imaginative and prescient of what he needs and on the identical time is open to concepts from all the crew. I feel we have been on the identical web page proper off the bat for a way we needed the film to look. That allowed us to actually push one another on our concepts throughout prep and nail down all the main points. As soon as we bought to set, all the things felt stable, so even when there have been adjustments on the day, we had a superb construction for the best way to adapt. Plus, Anthony simply is aware of the best way to scare folks, he actually crafts these moments effectively. I realized lots from working with him on this film.

Had been there belongings you realized from engaged on Malum that you simply’re excited to use to future initiatives? 

This was essentially the most I’ve relied on lighting from practicals. We did substitute the fluorescents with LED tubes, so we had full management, and we did herald different items on the bottom to reinforce the lighting, however a whole lot of the film is lit from the practicals and simply being sensible about shaping them. It gave us a whole lot of freedom with blocking and digicam motion, which was actually nice. It was positively particular to this location, however having near a 360-degree freedom to shoot a lot of the time, is one thing I’ll hold enthusiastic about going ahead.

Is there a selected scene in Malum you’re excited for audiences to see?

There are many scenes I’m enthusiastic about. One of many early flashlight moments that’s teased within the trailer is certainly a standout for me. However I don’t need to spoil something, so we’ll depart it at that.