The Polish Brothers are always happier if I can find visual references from art rather than movies, but of course I'm a movie buff so I'm also drawing on that in my mind. They told me that they wanted a static frame and a painterly look, in fact, their first reference was to Vermeer, so besides that reference, I immediately thought of the work of cinematographer Gordon Willis, who was exceptional at creating static compositions with a lot of mood and dramatic power. And I think his work is a lot like Edward Hopper's.
My job is to be an idea generator and throw suggestions at the director, let him choose what he likes and doesn't like. I have to get into the heads of the director and absorb some of their aesthetics even if they conflict with my own. However, in this case, Michael Polish and I have remarkably similar visual tastes, so deciding on things about the look is very easy. What I mainly have to do is whittle things down to the essentials, like asking him "is this dusk scene blue-ish or warm-ish?" "What elements do you want to shoot in this room?" "How wide do you want to go?" (We are both fond of wide shots, though it's the close-ups in "Twin Falls Idaho" that people seem to notice... doesn't hurt that the faces in the movie are so interesting to look at. It's also not an outdoors movie like "Northfork" or "Astronaut Farmer" are.)
I made my own Super-8 movies for a decade before I even went to film school, so I had been experimenting with filters and lenses for a long time, I just didn't have access to special processes or 35mm for a long time, but by the time I did "Twin Falls Idaho", I had already done twelve 35mm features. And many of them had different looks; I'm not very consistent in that regards, I like to play around with styles too much.
I had always wanted to try a silver retention process, the late 1990's was sort of a heyday for that before D.I.'s came along. I had studied the process for years, I'd been to the labs and seen the demos, etc. I did insist on testing the combination of flashing and silver retention printing, but that was just a one-day test of about ten minutes of footage.
In fact, six months earlier Fuji had asked me to shoot a test of two new stocks for them, so I tested them on the Polish Brothers dressed as the conjoined twins. We saw the test projected and they liked the combination of Fuji stock, Primo lenses, so we stuck to that when the movie later got funded.
All our later movies were framed for 2.40 and released in scope prints, but this was a very small movie and I had no idea it would get a theatrical release, so I was wary of shooting it in anamorphic and having to make a pan & scan version of conjoined twins... I was afraid every shot on TV would just have one and a half heads in the frame. So this was sort of a movie that could not be panned and scanned ever. Not many movies where almost every close-up has two heads in it. And Super-35 and doing an optical blow-up was out of our budget (and this was before people were doing the conversion in a D.I.) -- it had to be shot in a way that could be contact-printed for release.