Written by Kianna Best on Nov 7, 2023. Posted in Interviews / Production News

Guilty and Globe Trotting: An interview with the team behind Disney+'s Culprits

What do you do when your past life starts to catch up with you? That question is answered in Disney+ UK original Culprits. Executive produced by Stephen Garrett and J Blakeson, Culprits follows high stakes criminal turned family man Joe Petrus as the life he’s built begins to unravel. In the lead up to the 8 November premiere of the new series, we spoke to director of photography Philipp Blaubach and production designer Victor Molero on the works behind the jet setting project.

 

 

Set three years after the heist of his life, Joe Petrus, played by Nathan Stewart-Jarrett, is ripped away from his suburban life, when the world of crime comes knocking again. Bringing together the once dispersed crew he was a part of, he must return to London to put a stop to whoever is targeting them. Along the way we meet up with the crew members in various locations across London, America, Italy, Spain, France and Canada, and production was on site in four of those countries to capture and create the authenticity of all the travels.

 

 

 

How vital was travelling to the countries used for the overall narrative impact?

 

Victor Molero: The use of multiple countries in shooting Culprits was crucial to unfolding the narrative set across six distinct nationalities. By filming in four different countries, we aimed to authentically depict the unique essence and individual characteristics of each location pivotal to the story. This approach significantly elevated the production value, enabling an immersive experience for the audience. It allowed us to capture the diverse cultures, landscapes, and atmospheres specific to each setting, intricately weaving them into the storyline. By physically filming in these varied locations, we provided a genuine portrayal of the nuances and specificities of each place, enhancing the depth and authenticity of the narrative. This multi-country approach added richness, depth, and an immersive quality to the storytelling, allowing audiences to fully engage with the diverse environments integral to the Culprits storyline.

 

 

Philipp Blaubach: The production was already shooting in a multitude of locations in the UK, Toronto, and Spain, but we were very keen to introduce a completely different look, a desolate snow landscape, for those scenes. As we were already in Spain we looked into areas in the Pyrenees and ski resorts in Andorra, but because it was already April there was no guarantee we would have snow. The producers were understandably reluctant to take the production to a fourth country, but we found a perfect location in northern Norway, in Alta, and we agreed that we could achieve fantastic production value if we shoot these scenes with a scaled down crew, almost like a wildlife unit. We took two camera kits fitted into backpacks, and reduced the crew to the minimum for example by using a sound recordist who would also double as drone pilot, which allowed us to stay nimble and move around these locations in a couple of snow mobiles. We only took one cast member with us and one double, and then shot additional close ups against blue screen later when we were back in London.

 

 

In the high stakes world of crime, no day is free of action. From the trailer alone, Culprits promises to be a series of endless high octane, death defying stunts. From car chase scenes to breath-taking explosions, Culprits has it all. To facilitate the staggering action sequences, the production team made use not only of on location work, but also virtual production stages to make the larger than life scenes possible. A combination of filming on location in London and Manchester, as well as in the LED volume stage at MARS, the team were able to capture the intense car chase scenes. With writing requiring a warehouse surrounding by four roads, Manchester was the ideal spot.

 

Logistically, what went into creating those car chase scenes and other action sequences ?

 

PB:  We found a perfect location in Dale Street in central Manchester which gave us complete control for high speed stunt driving and use of FPV racing drones for aerial photography, and allowed stunts jumping out of the first floor window. Towards the end of the schedule we spent a week in the volume to do a variety of car interior work across different episodes. It allowed us to shoot a high speed pursuit in the morning and then switch to French countryside, or nighttime UK motorway scenes very quickly. Once the set is pre lit, it’s a very efficient way of working and gives the director a lot of control without all the trouble and the reset times and continuity issues you face when shooting on a low loader on location.

I love working that way and, given enough prep time, the results are incredibly realistic with the interactive lighting and all the subtle reflections you get from the LED walls. However, because of a Covid related schedule change we were forced to move some of the driving work forward, before the corresponding plates were shot. This meant we had to shoot these against blue screen and just made up random lighting effects from passing street lamps. We then found an industrial estate in Manchester that had street lamps with matching colour temperature where we shot drive by’s and the VFX team did a great job matching and synchronising the street lamps to our lighting effects in post.

 

 

VM: We extensively utilized green screens and virtual production techniques to enhance Culprits. For specific action sequences, we built a fake tree and the rear of the rubbish truck to facilitate the required scenes. These were captured against green screens to later incorporate digitally in the editing process. Additionally, in numerous instances, we needed to seamlessly blend several locations that were not physically in the same place. Green screens became instrumental in merging these disparate settings, allowing us to unite them digitally during post-production. This approach facilitated a cohesive and visually immersive storytelling experience by enabling us to combine and create scenes that would have otherwise been logistically challenging or impossible to capture together in a physical space.

 

 

How did you balance filming in locations as they were, and having to manipulate them for the purpose of production?

 

VM: The interplay between using original filmed locations and manipulating them for Culprits was pivotal, aligned with a specific visual code that underscored the production's distinct style. Every location underwent deliberate manipulation, emphasizing colours crucial to the highlighted style code. The selected colour palettes were essential decisions for each place, distinctly aligning with the three distinct timelines within the narrative.

Our approach focused on balancing the authenticity of each location with intentional manipulation to fit the predetermined aesthetic. By adhering to the predetermined colour schemes and stylistic guidelines, we were able to evoke specific moods and tones essential to each timeline. This meticulous manipulation and balance between the original settings and intentional alterations were instrumental in reinforcing the visual storytelling throughout Culprits, contributing to the cohesive visual experience while honouring the unique visual style planned for the production.

 

 

Much like every country that brought its own essence to the series,  through architecture and notable landmarks, London did the same. As the central hub of the criminal escapades, the infamous London underground was on full display. No easy feat, Molero and Blaubach recount the challenges with shooting in the tunnels under the city.

 

What was the experience of filming in the underground like?

 

PB: I know it was very expensive, and involved a lot of paperwork from all departments. All kit had to be loaded the evening before Stanmore tube station and then travelled 35 minutes to Charing Cross where a disused platform was used for filming. There were a host of health and safety restrictions especially for working on the tracks. But the station staff were very helpful and even let us borrow their track maintenance trolley which became our camera dolly on the train tracks!

 

 

VM: Filming in the underground proved both exciting and challenging. The London tube's stringent regulations, coupled with high hourly rates, demanded a meticulously organized schedule due to cost implications. This strict timing was crucial to make the most of our limited hours on site.

The heavy dressing of the abandoned underground station was essential in authentically capturing the moment depicted in the show. Achieving the desired look required meticulous attention to detail and precise set design.

Simultaneously, transporting gear and production necessities to the underground called for an intricately planned approach. The confined space and strict regulations necessitated detailed coordination for every element brought on site.

Amidst these challenges, the experience highlighted the significance of detailed planning and strict adherence to guidelines. Despite the complexities, the effort contributed to the authenticity and success of the underground scenes, adding depth and realism to the production.

 

 

With the assistance of local film commissions and industry bodies, including  Norwegian service PolarX, Spain based Palma Pictures and Toronto based location manager John Musikka, Culprits is a globe hopping trail of intrigue. Written, directed and executive produced by Blakeson and executive produced by Garrett, the series will star Nathan Stewart-Jarrett alongside Kirby, Gemma Arterton, Niamh Algar, Ned Dennehy, Eddie Izzard, Tara Abboud, Kamel El Basha and Kevin Vidal. The 8 episode series will be available for streaming on Disney+ through their Channel 7 extension on the platform from 8 November 2023.

 

 

Images courtesy of Disney