When Tod Campbell joined Mr. Robot as director of photography on its second episode, he had what Marlo Stanfield from The Wire might refer to as “one of them good problems” in deciding how to shoot it. Lead actor Rami Malek’s eyes were almost too gorgeous. “My God, Rami? I could put a light a hundred yards away and his eyes would pick it up,” says the veteran cinematographer of shows from Friday Night Lights to Sleepy Hollow. This ocular casting coup helped determine how Campbell came to shape the distinctive look of creator Sam Esmail’s twisty, anti-capitalist hacker drama, one of the summer’s standout shows (its finale airs on USA tonight). And you don’t need Malek-size eyes to see that Mr. Robot composes its shots like nothing else on television today. Fitting for a show about those occupying society’s technological substrata, Mr. Robot’s
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