Toying with the axioms of the thriller genre itself, we devised to utilize certain accepted visual cues to purposefully manipulate the audience emotionally. The opening discovery of the murder scene for example was deliberately photographed in a very brightly lit, white environment, which is directly contrary to one’s intentions of making this horrific event more dark and creepy. In defiant contrast, the scene is brazenly clear and unflinching, which hopefully subconsciously sets the views even more off kilter, because it feels that much more violating.

This being said, much of Descent does subscribe to school of moody atmospheric visuals as part of its “thriller” tableau. Overall, I wanted to render the film in deep menacing tones, while still presenting the characters in a somewhat polished and refined lighting scheme. Without becoming too slick, the actors are often half-lit with soft sources and immerging from shadowy backgrounds. A good example of this idea can be seen in Andrea’s office building after she packs up for the evening and exits her office. Sensing she’s perhaps stayed a little too long at her desk, the shadowy hallway immediately clues the audience in that something’s not quite right. Heading for the elevator, we had Andrea passing through various pools and patches of light, while still being able to define the shape of her movement amongst the shadows.

With over half of the film taking place within the confines of the elevator itself, I sought to devise a look that was both utilitarian and yet stylized. Creating a lighting scheme that felt realistic and yet maintaining our moodiness was delicate work; and had much to do with incremental refinements in the controlling of the soft overhead sources. Too much light spilling onto the background would make the scene bright and cheery… not quite the desired effect. Furthermore, within the elevator, subtle nuances were incorporated into the lighting design to help sell our story.

For much of the elevator sequences, Andrea is trapped alone in the tight space with the killer. To add further menace to these scenes, Andrea always had more full/brighter light on her than did the killer. Indeed, even the walls behind the killer were kept a few notches darker than Andrea’s side of the elevator. We also played with off-kilter framing choices at various emotionally heightened moments throughout the film; often tightly “short-siding” one eye on a side of the frame while leaving open space around it.

Camera movement also plays a psychological role in Descent’s visual design. Inside the elevator, for example, the camera is much more locked down and trapped than when Andrea finally bursts free from the elevator at the end. We wanted to accentuate Andrea’s sense of being enclosed with nowhere to go and very often reserved playing the camera on the characters eye-lines, until it really meant something emotionally to the characters. Hopefully this restrained style adds to a growing sense of unease as the situation builds and intensifies.