Editor’s Note: Jack Howard of SIGMA America recently sat down for an interview with Judd Overton, Director of Photography for “Totally Killer”, streaming exclusively on Amazon Prime Video. The transcript below has been edited for brevity, clarity and accuracy.
Interview with Judd Overton, Director of Photography for Totally Killer, the Amazon Original full-length feature film
SIGMA: Judd, congratulations on your work on Totally Killer. On behalf of SIGMA, we are always very excited to learn about feature length films shot on SIGMA lenses.
Personally, I loved this film. I’m of a certain age where I remember the ’80s. This was like that to a tee. That was my time frame. And this film manages to be both an homage to classic ’80s horror slasher flicks like Friday the 13th and Halloween, and is also a sly take on Back to the Future. Can you tell me a little bit about how the process came together and how the SIGMA Cine lenses were chosen to be one of the main lenses for the film?
Judd Overton: Thanks! When we looked at the script, we knew color tone was going to be really important. Because of the time travel pace, we had to transport the audience back and forth between times instantly. We wanted to ground them without using too much gimmick. The SIGMA Full-Frame High Speed prime lenses, especially for the contemporary scenes, provided a clean, true image that stood out.
SIGMA: For the flashback scenes set in 1987, what were the vintage lenses used?
Judd: We tested various lenses with Keslow Camera, initially considering anamorphic primes for the ’80s material. But for a fast turnaround on a 26-day shoot, we opted for rehoused Canon glass from that era, specifically the FDs and the K35s, to provide a flare without being too heavy-handed with our vintage aesthetic.
SIGMA: The film captures the ’80s vibe without being over-the-top. The costumes, language, and stylings feel authentic. How did you achieve this balance?
Judd: The costumes were fantastic, and the script’s tightness played a crucial role. We wanted to give the audience the ’80s nostalgia without overaccentuating it, taking cues from John Hughes films to create a welcoming era of filmmaking.
SIGMA: The film seamlessly blends horror and slasher moments with a coming-of-age storyline. How did you approach the cinematography to achieve this?
Judd: We leaned into horror beats with references to ’80s and ’90s horror tropes. We wanted slasher moments to be visceral, yet integrated into the overall movie. Kiernan Shipka, the lead, navigates for the audience, providing a connection between the slasher and comedy moments.
SIGMA: The film has a unique quality that makes it suitable for fall, especially around Halloween. How do you think it will resonate with audiences?
Judd: I believe it has a long shelf life, especially during the fall season. It’s a unique and entertaining piece that delivers on various aspects without leaving the audience wanting more, or less.
SIGMA: What other projects do you have coming up, and do any of them involve additional SIGMA gear?
Judd: I just finished shooting a documentary in Europe using Angenieux zooms and Kowa Anamorphics. I’m keen to try out SIGMA more gear, especially the cinematic zoom lenses, for their versatility in different filmmaking environments on future projects.
Follow Judd Overton on Instagram at @juddovertondp
Browse SIGMA Cine lenses used on Totally Killer and a growing list of productions
