“The creators had asked for a way to create dynamics with the camera in terms of energy to give a more propulsive quality to some of the wrestling matches,” Adrian Peng Correia says to Gold Derby in an exclusive interview (watch the video above) about handling the cinematography on Netflix’s “GLOW” for its second season. Correia further explains that “trying to find a way to elevate the visuals for the second season, particularly because there was going to be much more involved wrestling” drove his decisions about camerawork and lighting.
For Emmy consideration in Best Half-Hour Cinematography, in which Christian Sprenger was nominated last year for the first season, Correia has submitted the episode “Mother of All Matches.” He explains, “That episode to me is really the crux of the season.” If the episode does well enough in a popular vote of the cinematographers’ branch of the academy, a panel will screen a continuous four-minute clip from it and each of the other semi-finalists before determining the nominees.
Correia sought to find a four-minute sequence that “typified what the season was all about” as opposed to being “too experimental” in terms of visuals and admits that he hopes “that the weight of the season will help carry all of it.” Running from roughly the 22-minute to the 26-minute mark of the episode, his submitted sequence sees Tammé “Welfare Queen” Dawson humiliated after losing a match to Debbie “Liberty Belle” Eagan, with Correia also citing Betty Gilpin’s performance as the latter as the standout of the season. Correia explains, “That episode was great because it had this combination of women on the verge of a nervous breakdown, so they’re both heading towards this conflict in the ring, but they also have these really definitive, almost psychologically destructive, conflicts that are coming on in the context of their lives, which culminates in the match.”
“It seemed like the kind of show that could have an impact socially and that was really important to me,” Correia says about “Ramy,” Hulu’s new show about Muslim Americans on which Correia worked instead of continuing with “GLOW” for its third season. Calling it “the exact opposite” of “GLOW” from a cinematography standpoint, Correia explains, “There’s no level of ostentation to the camera. It’s about a character who’s in stasis, so the camera reflects that element of his life. It’s not a camera that propels him through life; it’s a little bit more observational in that way.”
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