The cold was brutal and so were the gangsters. It was the first – and worse, only – day of shooting, and when cinematographer Julio Macat threaded some film into his camera, it was so cold that the film snapped. The gangsters flitted around menacingly, fedoras and machine guns at the ready.
Macat was hoping to make a movie that was frightening and strange. “The goal,” he says, “was to scare a kid.” And so, even though it was 1990, he chose to shoot the noir like it was the 40s, with black and white film, fog filters on the camera lenses, and an intense, old-fashioned lighting setup to cast deep shadows on the set.
