The Making of a Cinematic Masterpiece: Behind the Scenes of Martin Scorsese’s “Killers of the Flower Moon”

“Can you find the wolves in this picture?” This haunting question echoes throughout Martin Scorsese’s latest cinematic triumph, “Killers of the Flower Moon.” Renowned for his gritty, unflinching narratives, Scorsese ventures into uncharted territory with this film, blending multiple genres to tell a story of greed, betrayal, and the dark underbelly of American history.

Based on David Grann’s 2017 non-fiction book, “Killers of the Flower Moon” plunges us into the heart-wrenching tale of the Osage murders in 1920s Oklahoma. It’s a narrative that Scorsese felt compelled to bring to the screen, captivated by the manipulative nature of the crimes. “I was drawn to the story and the landscape,” Scorsese explains, “but primarily the story because of the nature of the scam. I was interested in that manipulation of the people, particularly the intimacy of it.”

In this article, we’ll delve into the meticulous craftsmanship behind “Killers of the Flower Moon,” exploring how Scorsese and his team stretched themselves to new lengths to create one of the most ambitious and powerful films of the year.

Chapter 1: The Language of Light and Lens

Capturing the Essence of the Osage

For cinematographer Rodrigo Prieto, the challenge was to visually embody the spirit of the Osage people and their profound connection to the land. This philosophy guided every decision, from camera selection to lens choice.

Prieto opted for a blend of digital and celluloid cameras. For sun-drenched exteriors, he used ARRICam LT and ST film cameras with Kodak 5207 stock. As night fell, he switched to Kodak 5219, prized for its reduced grain in shadow areas. When scenes demanded extreme low-light performance, Prieto turned to the digital Sony Venice.

But perhaps the most intriguing choice was the use of Scorsese’s personal Bell & Howell hand-crank camera for black-and-white newsreel footage. This vintage touch lent authenticity to these scenes, mirroring the technology of the era.

Lenses: A Window to the Past

Lens selection was equally thoughtful. Prieto paired his cameras with anamorphic Panavision T-series lenses, their wide aspect ratio perfect for capturing Oklahoma’s expansive, flat landscapes. To add a period-appropriate softness, the lenses were detuned.

For shots of the Osage victims, Prieto employed a custom anamorphic Petzval lens, a relic from the early 20th century. This lens distorted the edges of the frame, evoking the photographic aesthetic of the time. It’s a subtle yet powerful choice that underscores the film’s commitment to historical accuracy.

The Colors of History

Even the film’s color palette was steeped in history. Prieto and colorist Ivan Lucas meticulously researched Autochrome, an early color photography process. “It involved a lot of research to really understand exactly how these processes rendered various colors,” Lucas explains. The result is a saturated yet low-contrast look that transports viewers back to the 1920s.

As the story darkens, so does the visual tone. After a pivotal explosion, Prieto shifts to an ENR (Exposure Negative Reversal) LUT, a process that desaturates and heightens contrast. It’s a stark visual cue that the world of the Osage is unraveling.

Chapter 2: Lighting the Shadows of History

Natural Light and Cultural Respect

Prieto’s lighting design was deeply influenced by Osage customs. “Understanding the relation of the Osage people with nature was very important,” he notes. This meant shooting at specific times that aligned with Osage rituals, like praying to the rising sun just after dawn.

During a funeral scene, Scorsese insisted on shooting at high noon, adhering to Osage burial practices. Similarly, in the Barque Lodge, Prieto let sunlight dictate his approach. “I felt it was appropriate to bring a big shaft of sunlight in through the roof and just bounce it off the ground to light everyone’s faces,” he explains. It’s a beautiful marriage of cinematic technique and cultural respect.

Light as Narrative

As the story progresses, lighting becomes a tool to express character psychology. For Ernest Burkhart, played by Leonardo DiCaprio, Prieto uses increasingly harsh lighting to mirror his moral deterioration. “For Ernest, I thought that we’d place him in increasingly uncomfortable situations with the light because that’s how he’s feeling,” Prieto reveals.

This culminates in the courtroom scene, a visual assault of harsh, bright lights. Prieto used a combination of ARRI SkyPanels, ARRI S360Cs, and HES SolarFrame 3000 HiFi moving lights to create a searing, inescapable brightness. It’s as if Ernest’s sins are laid bare under this unforgiving glare.

Artistic Flourishes

While naturalism guides much of the lighting, Scorsese and Prieto aren’t afraid to use theatrical techniques for emotional impact. When Molly’s sister is killed, her face is lit with an unnatural, almost saintly light from a Leko, while everything else flickers with kinetic firelight.

In another pivotal scene, Ernest stares out at burning crops. Scorsese wanted this moment to feel hellish. “I said, ‘When Bill Hale burns his fields, I have an image of these demons dancing around the fire. Like Walpurgisnacht, the Witches’ sabbath,'” Scorsese recalls. With nearly 70 heat bars buried in the ground to create heat waves, the scene is a nightmarish vision of Ernest’s descent.

Chapter 3: The Invisible Hand of Visual Effects

Enhancing Reality, Not Replacing It

In the realm of visual effects, less is often more. For “Killers of the Flower Moon,” VFX supervisor Pablo Helman took this to heart. “The first thing that Marty said to me was, ‘I want your work to be completely invisible. I don’t want to see it,'” Helman recounts.

Industrial Light and Magic (ILM) worked on 700 VFX shots, but their goal was to enhance reality, not replace it. They expanded the size of the town, adding period-accurate details like oil derricks. “The art department did a great job of restoring the actual towns that we were shooting in, but they could only go so far,” explains visual effects editor Red Corizon.

The Devil in the Details

Some of the most effective VFX work is barely noticeable. In the car crash scene, Scorsese had the team digitally add a hat and blood, realizing after the fact that the character would always wear his hat. The crash itself is a composite of two takes—one for the impact, one for the performance.

The effects team also worked subtly to enhance the sickness of poisoned characters. As Minnie succumbs to poison, VFX and makeup teams collaborated to make her deterioration increasingly pronounced.

Even the final shot benefits from invisible VFX. The crowd around the drum was digitally expanded, blending people from multiple takes into a single, powerful image.

Conclusion: A Tapestry of Craft and Compassion

“Killers of the Flower Moon” is more than just another entry in Scorsese’s illustrious filmography. It’s a testament to the power of meticulous craftsmanship in service of a deeply human story. Through carefully researched cinematography, culturally sensitive lighting, and seamless visual effects, Scorsese and his team have created a film that is both brutal in its honesty and compassionate in its understanding.

As we leave the world of “Killers of the Flower Moon,” we’re reminded of the final lines from the transcript: “Mrs. Molly Cobb, 50 years of age, passed away at 11 o’clock Wednesday night at her home. She was a full blood Osage. She was buried in the old cemetery in Gray Horse. There was no mention of the murders.”

In a world that often forgets or willfully ignores the darker chapters of its history, Scorsese’s film stands as a powerful act of remembrance. It’s a cinematic masterpiece that doesn’t just tell a story—it bears witness to a tragedy, ensuring that the wolves in the picture can no longer hide in the shadows of the past.