Dean Cundey (‘The Mandalorian’ cinematographer) on using magic and logic ‘to create the illusion that draws an audience in’ [Exclusive Video Interview]
“It’s a very innovative show…everything in front of the camera is designed by somebody, is created by somebody,” describes Dean Cundey of “The Mandalorian, “There’s nothing off the shelf. It’s all a product of human artistry and imagination.” The film legend picked up an Emmy nomination for Cinematography for a Series (Half Hour) for his work on the Disney+ series, and he admits to having a ball playing inside the “Star Wars” universe. “It’s such a wonderful change of pace from shooting against real backgrounds,” he reveals. Watch the exclusive video interview above.
“The Mandalorian” is a largely virtual production, shooting many scenes on a stage called The Volume. The set consists of a curved screen which allows digital environments to be projected on it and move with the camera in real-time. Cundey has worked with all manner of evolving film technology in his decades-long career, which features beloved films like “Halloween,” “The Thing” and the “Back to the Future” trilogy. He remarks that this latest digital innovation is a “fascinating” apparatus. “The Volume is another one of those amazing tools that are available to us as filmmakers and as storytellers that allows us to take the characters, and therefore the viewers, to places that normally we probably couldn’t do or afford to do.”
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Cundey takes viewers to many such places in his Emmy-nominated episode, “Chapter 20: The Foundling.” In one special moment, Grogu follows The Armorer into her chamber and stares up in amazement at the forge. This giant furnace holds religious-like importance to the Mandalorians, and the cavern feels at once ancient and sacred. With this scene, Cundey sought to “create a feeling of a different world,” just as any great “Star Wars” tale does. “And yet I think the most successful instances of that is when the world is also identifiable to the viewer,” he reveals. So the cinematographer gave the set a “kind of an interesting mystical look,” yet he ensured that the lighting remained “logical” to the viewer. An element of realism helps the viewer buy into the mystical.
The cinematographer’s penchant for logic continued in his choices for a fan-favorite flashback scene, which showcased the daring rescue of baby Grogu during the Order 66. As Jedi are shot down by the clone army, Kelleran Beq manages to escort the child out of the Jedi Temple. The pair jump in a speeder bike and race through the urban skies of Coruscant, with troopers in hot pursuit. The daring action sequence ratchets up in intensity an stakes thanks to the way that Cundey positions the camera at Grogu’s height.
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“The choice of having Grogu as the point-of-view is something that seemed to me logical and reasonable,” Cundey explains, “where you didn’t want to be outside of the world looking in…You wanted to go along with the character that was the pivotal character in the scenes.” As a result, the audience experiences the tense action along with Grogu, as if looking through his eyes. “So much of it is focused on Grogu’s reactions to things and emotional fears and expectations…So where you put the camera has to reflect that kind of point of view,” states the cinematographer.
The film veteran also stepped in front of the camera on “The Mandalorian.” Eagle-eyed viewers might have spotted him in the third episode of Season 3, “The Convert,” as a magician on Coruscant while Dr. Pershing tours the city center. “That was really a fun moment,” admits Cundey, “and I’m surprised how many people recognize me!” The cinematographer reveals that he was interested in magic ever since childhood, so his cameo as a street entertainer proved a natural fit. “I sometimes make the analogy that a film, or episode of TV, or whatever is one giant magic trick. You are creating an illusion for the audience and you’re hoping they believe it.” His magician creates an illusion, conjuring up a dragon-like creature for a group of children (it’s fanned neck bears a suspicious resemblance to a certain spitting dinosaur from “Jurassic Park,” one of the many classic films that Cundey has lensed). “We’re all magicians,” offers the cinematographer, reflecting on the ways that filmmakers have used technology to cast a spell on viewers. “All of that has really allowed us to follow our imaginations and to create the illusion that draws an audience in.”
Cundey is an Oscar nominee for “Who Framed Roger Rabbit.” That film earned him a BAFTA nomination, as did his cinematography for “Apollo 13.” He won a Daytime Emmy for “Religion and Ethics Newsweekly” in 2002. His bid for “The Mandalorian” marks his first Primetime Emmy nomination.
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