The Camera is Dancing with Joaquin: Cinematographer Lawrence Sher on Joker, The Hangover and More

The Camera is Dancing with Joaquin: Cinematographer Lawrence Sher on Joker, The Hangover and More

When I first saw the film at a packed preview screening, you could hear a pin drop in the theater because the audience was so unsettled—I felt, in a good way. Later on, I saw “Joker” in 70mm at Chicago’s Music Box Theatre, and the audience was much more responsive. They even gave it an ovation at the end.  

It’s interesting you say that. After I saw the film in an early cut and gave it some notes, I didn’t see it again until it was effectively final cut, and Todd had to screen it. He asked me if I wanted to come see it at Warners, and when I showed up, there were around 350 Warner Brothers worldwide distribution employees in attendance. So it was a full crowd at one of the biggest screenings in LA, and not having seen it that size since we shot it—and without the music we had temped in—I was blown away, to the point to where I turned to my wife and I asked, “Are you liking this?” Because it was so quiet—unlike the first time we saw “The Hangover” with a crowd, and I realized that the movie could be a really big hit.

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