Shifting points of view and camera angles create a chaotic precision for ‘Euphoria’
Marcell Rév shoots a car scene for “Euphoria.” “We get most of the resources we ask for, we shoot what we like, it’s fun to shoot it, it’s a good set I work on with a lot of very talented people. “The first thing I wrote down after talking with Sam about Season 2 was ‘every scene or image should feel like a piece of broken memory, an echo of something we wish or imagine,’” Rév says via video call while visiting his native Hungary. Rév’s cameras make emotionally loaded moves between the action onstage, reactions in the seats, past incidents that inform “Our Life” and events taking place off campus. It’s a little more old school.” Rév’s cameras also took a classical approach to the play’s big, climactic production number, which saw underclad boys gyrating around a gym set to Bonnie Tyler’s “Holding Out for a Hero.” “To be honest, that was the most straightforward part of this episode for us,” Rév says.
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