Inside The Epic, Intimate Visual World of 'Dune: Prophecy'

Dune: Prophecy takes place ten thousand years before Paul Atreides joined the Fremen to lead an uprising on Arrakis to take down House Harkonen when two sisters (Valya and Tula Harkkonen) create the mysterious all-female order called the Bene Gesserit. In Max's Dune: Prophecy, the siblings combat forces that threaten the future of humankind.

Cinematography plays a big part in setting the tone of the show, and No Film School had a chance to sit down with Pierre Gill, CSC, the lead cinematographer on the series.

As the lead cinematographer, he was tasked with establishing the look of the show. In our conversation, Gill shares insights into his creative process, creating distinctive looks for various planets, portraying power dynamics, and more.

Let's dive into the interview.

- YouTubewww.youtube.com

Editor's note: the following interview is edited for length and clarity.

No Film School: How did you get started when you first signed on to the project?

Pierre Gill: After reading Dune: Prophecy scripts, I created a mood board to share some of my vision and inspiration. Starting this way requires a collaboration among departments, especially with the director, the production designer, and the showrunner. I try to define some emotional and aesthetic tone of the film by combining imagery, colour palettes, and textures. It also helps translate abstract ideas into practical design choices. Anna Foerester, the pilot director, also had an amazing mood board, funny enough in which we had the exact same image! An inspiration for Inez red dress.

The next thing I do for the next few months is going through all the details sent by production designer, including mood-board, artwork, floor plans and many more. It helps me get the feel of the space.

NFS: How did you establish the tone for the show?

Gill: Establishing the tone of a series like Dune: Prophecy —a deeply atmospheric, epic, science fiction project—requires a cohesive blend of visual elements to immerse the audience in the unique universe of the story. Every element from lighting, camera, wardrobe, effects, production design and all, came into play. First, as a creative team, we all agreed to stay in the “Duniverse.” The films are very powerful and we wanted to create a world that resonates deeply with its audience who first encountered the franchise through movies, so they could enjoy and follow at ease.

Therefore, Dune: Prophecy needed to become strong, powerful, immersive visually. We achieved it by using visual metaphors and recurring imagery like the shape of eyes, iris, circles, water, or the spice to reinforce themes of survival and transformation. We wanted to highlight the journey and prophetic visions to give the story a mythic quality. Blending the epic world of the movies with the intimate storyline was the goal.

NFS: Pilots play a huge role in establishing the look for the show as a whole. Do you have your favorite scene/sequence in the pilot episode?

Gill: One of my favorites is the “Ritualistic chanting” in the Sisterhood common room at the beginning of the episode. It's when we meet young Valya for the first time. All the young sisters are sitting down and chanting in a prana-bindu meditation style, in front of this big golden bowl. It was a real challenge to create this bowl with a light source inside. The bowl was only ready on the day of shooting so I was anxious to know if I could use it as the main light source, but I did and it was quite successful. We also had this beautiful camera rig , “the ascender” that made this amazing pull up shot. That resulted in the phenomenal scene the audience will see on screen.

NFS: In the show, we see a lot of political intrigue and complex dynamics between characters. Can you share more about how you tried to emphasize those relationships through cinematography?

Gill: Anamorphic lenses definitely helped me stay closer to the characters but I mostly used the power of framing and composition to create tension, suspense, and convey power dynamics and relationships between characters.

For example, the use of low-angle shots can make a character appear more powerful and imposing. Valya Harkonen (old & young) and Empress Natalya are two strong figures on which we use this technique during the series. Also, most of the time, the camera is “Face-on” with those characters to create a sense of direct engagement between them and the audience. On the other hand, we mostly shot Emperor Corrino at eye level or higher, placing his character in a more vulnerable position. Even though I really liked the use of “Face-on shots” for many characters, I used more “Profile shots” on Desmond Hart, positioning his character as an observer, adding a layer of mystery, hidden emotions and emphasizing his distance from others. By employing the framing and lenses, I aimed to create an engaging experience that immerses the audience in the story but also provides a deeper understanding of the complex political machinations and character relationships at play

NFS: The show explores different planets and spaces within the universe. How did you establish different looks for various places explored in the show?

Gill: This was achieved through a blend of production design, cinematography, and visual effects. I carefully employed very distinct looks to capture the unique atmosphere of each location explored in the series to create clarity. So visually separating different areas through distinct lighting tones helps the audience instantly grasp where a scene takes place and that gives priority to the story telling. It was very important for me.

For example, the use of soft, cool, gray tones of the Sisterhood in Wallack IX contrasted sharply with the harsh whites and amber hues of the opulent palace of House Corrino on Salusa Secundus.

NFS: How did you manage the balance between the large built sets and focusing on the actors’ performances?

Gill: Yes it was a real challenge to balance the breathtaking scale of the sets with the intimacy of the actors' performances. I had to create a “tableau” of Dune scale yet light human size characters.

Our amazing crew was key to achieving this. I had a great team of Hungarian gaffers, grips, and riggers that made it possible. We built giant soft boxes on movable trust and used powerful HMI’s. I was able to light the wide shots quickly and move the lighting much lower when we were shooting close-ups focusing on the actors' faces and expressions. Incorporating practical lighting created by the art department (lamps, chandeliers, etc.) also enhanced depth to the scene. All of those light fixtures were hand made and carefully planned, so overall, the sets were designed not just to look impressive but also to be functional. It was great work we did in prep that made the shooting easier!

NFS: Do you have any advice for people hoping to get into cinematography?

Gill: Cinematography is a demanding but incredibly rewarding field. I have a lot of advice.

Try to develop a strong foundation, read the script with your heart, pay attention to details, learn to communicate, observe the light and shadows and never forget you need to be able to translate a director's vision into compelling visuals.

Create a strong reel that highlights your most impressive shots that reflect your unique vision and style as a cinematographer.

Go to film festivals, workshops, and industry events to meet other filmmakers and potential collaborators. Keep learning about new technologies, techniques, and trends. Don't be afraid to push boundaries and experiment with new approaches to visual storytelling.

Experience is key. Never Stop Shooting: the more you shoot, the better you'll become. Good luck!