He proposed turning night to dusk since so many of the scenes took place in a forest, which gave more depth to the trees to be lit from behind. They have nearly a 25-year collaboration, most notably on “One Hour Photo,” and the cinematographer was intrigued by the script and dazzled by the paintings. His work mixes high-tech futurism with scenes from every day Sweden. It was just snow in the background in Winnipeg on the shoot day, and there was no lake. The interiors of houses glow warmly in the night, and scattered illumination provides a sense of security in parking lots. In Stålenhag’s three art books (2014’s Tales from the Loop, 2016’s Things from the Flood, and 2017’s The Electric State), the science-fiction elements feel oppressive and threatening as often as they feel benevolent or abstracted. DEADLINE: For Emmy consideration, you submitted pilot episode “Loop.” What are you particularly proud of, thinking back on that piece? As streaming services see an immense jump in demand for entertainment and escapism, Halpern recognizes that Tales from the Loop might be headed to a wider audience than he expected. “It’s part of my daily routine — just go out and take pictures,” he says.

The robots that we see, the two-legged robots, in Simon’s books, you kind of see a view from the back of the robot. One of my first meetings was with Nathaniel, the showrunner, and the producers, and I explained what we would need to achieve the quality of visual effects we all wanted. With actors like Jonathan Pryce and Paul Schneider portraying members of the Willard family around which the show centers, the world that’s slightly different than our own is actually amazingly familiar. “I think it’s one of the prettier scenes because it’s all about their closeups, going from awkward to comfort.”.

Series creator Nathaniel Halpern spoke with The Hollywood Reporter about how he brought Stålenhag's pictures to life on the small screen.

But we built that structure and tried to be as faithful as possible in that regard.". So, we built the underground Loop.

It was always about her and the background became more noise.

Showrunner Nathaniel Halpern speaks about adapting the world of Simon Stålenhag’s paintings for Amazon’s Tales from the Loop. On Tales from the Loop, our goal was to create visual effects that are photorealistic, subtle, enhancing what is already there, and I think the pilot is a great example of that. "Once my hand knew how to do that, I had to do that, so I was like, 'I have to put a robot in this scene of a rural setting in Sweden,' and it kind of worked.". Copyright © 2020 Penske Business Media, LLC. We wanted to maintain this photorealistic look to it, but then of course we’re doing this antigravity sort of effect. KNOLL: From day one, we were all on the same page, wanting everything to look photorealistic and not CG. The futuristic sci-fi series was adapted from a book of digital paintings by Swedish artist Simon Stålenhag. What is the universal quality?

So then the notion of adapting paintings into a TV series on top of that felt wonderfully unique, and it just felt like a wonderful opportunity.". “I remember we had a Mercedes but I didn’t remember exactly which year and make and everything,” he recalls.

“But I was amazed at the amount of time we had at dusk once the sun shadows had become soft enough or dropped below the horizon line.”.


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