‘A Quiet Place Part II’ cinematographer Polly Morgan discusses how she remained true to the original’s tone and lighting.
Cinematographer Polly Morgan remembers seeing “A Quiet Place” when it hit theaters and being terrified. As a young mother watching Emily Blunt’s Evelyn Abbott giving birth in a tub and later putting her crying baby in a box to save it from the creatures, she was fearful. “It was a family drama, and I cared about these characters, even though it was a horror film,” she says. Morgan’s top priority on “A Quiet Place Part II,” which hits theaters May 28 after more than a year’s delay due to the pandemic, was to stay true to the tone and lighting established by Charlotte Bruus Christensen, who lensed the first picture. “Since the sequel picks up right where the first movie left off, I didn’t want the audience to be jarred by the film’s look,” Morgan says. For director John Krasinski, the decision to shoot on film was “nonnegotiable.” Not only did he want to avoid sequel tropes, but he wanted to maintain the feel of the original. “I wanted the first frame to feel nostalgic, and that it was any time and any place,” he says. Krasinski and Morgan discussed ways to achieve a wider visual approach.
