Cinematographer Autumn Durald Arkapaw Discusses Filming “Sinners”

Autumn Durald Arkapaw, a prominent cinematographer, has recently shared insights into her work on the film “Sinners,” directed by Ryan Coogler. This project is set in the Mississippi Delta during the Jim Crow era and features Michael B. Jordan in a dual role as identical twins Smoke and Stack. The twins return to their hometown to establish a juke joint, only to confront a vampire threat that disrupts their plans.

Arkapaw received the script for “Sinners” just before starting her work on another project, Gia Coppola’s “The Last Showgirl.” “I read it and was blown away,” she recalled. The unique storyline captivated her, prompting a detailed email response to Coogler, where she expressed her thoughts and visual ideas inspired by the script.

The film marks a significant milestone for Arkapaw, as she became the first cinematographer to shoot in 65mm film for IMAX. While Coogler initially considered returning to Super 16 format, discussions with the visual effects team led to a shift towards larger formats. “We transitioned to thinking about the movie in 35mm,” Arkapaw explained, referencing the studio’s interest in large format filmmaking.

Testing took place in the desert near Lancaster, California, where Coogler expressed a desire to capture the expansive landscape. This approach was influenced by Quentin Tarantino’s “The Hateful Eight,” which was filmed using Ultra Panavision 70mm. Following screening tests at FotoKem and IMAX headquarters, the team recognized the potential of what they had created.

One scene that particularly stood out to Arkapaw features Jack O’Connell as Remmick, who makes a dramatic entrance against a sunset backdrop. “It read like a Western,” she said, noting that the sequence originally opened the script. The scene’s focus is on Remmick approaching a farmhouse while claiming to be pursued by Choctaw Indians.

Coogler aimed for a grand presentation of Remmick’s arrival, hinting at his supernatural abilities. Arkapaw described how they worked to achieve this vision, with O’Connell jumping off a box to convey the character’s potential to fly. “It was important to give a hint at the fact that he can fly,” she stated.

The timing of the shoot was critical, with the scene set during “magic hour,” when the sun sets and casts a unique light. Arkapaw and her team had two days to capture this pivotal moment. “We shot it for one day, then returned to complete some work,” she explained, underscoring the importance of getting the timing right with the setting sun.

Despite challenges, including a jammed camera just before a crucial shot, the team persevered. “We were able to fix the jam and rolled right before it set,” Arkapaw recounted, highlighting the urgency of the situation.

Her groundbreaking work on “Sinners” exemplifies the beauty of the IMAX format. “We had cameras on cranes, with many moving shots reminiscent of an old Western,” she explained. The project showcases not only her technical skill but also her ability to bring Coogler’s vision to life, creating a visually stunning narrative that resonates with audiences.

As “Sinners” prepares for its release, Arkapaw’s contributions stand as a testament to innovation in filmmaking, blending storytelling with cutting-edge technology. The film promises to deliver a unique cinematic experience, driven by both its compelling narrative and breathtaking visuals.