Explore the intricate process behind the stunning mirror sequence in ‘Nobody 2’, where creativity and technical prowess merge to create an unforgettable cinematic experience.
How We Executed the Mind-Blowing Mirror Sequence in ‘Nobody 2’
Upon first reading the script for Nobody 2, the hall of mirrors sequence immediately caught my attention. It resembled a funhouse maze, laden with traps set by Hutch (Bob Odenkirk), anticipating the arrival of Sharon Stone’s character and her team of henchmen.
On paper, it appeared to be an incredible set piece, yet also a challenging one. We realized we needed to devise the smartest approach; otherwise, we could find ourselves in a real predicament. Shooting mirrors — especially multiple ones — can be incredibly difficult. You constantly battle against your own reflection, or those of the crew, or the equipment. Nevertheless, I was eager to dive into the project.
Creating a Funhouse Beyond Budget Constraints
From the outset, director Timo Tjahjanto, production designer Michael Diner, and I agreed that the funhouse hallway needed to feel larger than our actual budget allowed. Our goal was to conceal Hutch and provide the audience with that disorienting sensation of being trapped within a maze of reflections. Additionally, we intended to use this space earlier in the film for a lighter scene featuring Hutch and his daughter at the fair, necessitating dual functionality. For that playful version, we designed a lighting scheme dubbed “Bubble Gum” — bright, candy-colored, and cheerful — before transforming the same set into a darker, more menacing environment later in the narrative.
Michael’s team constructed scale models with miniature mirrors and hinged panels, allowing us to test various angles. We settled on a tapered 40-foot hallway with a concealed bend, enabling characters to enter and exit without revealing too much of the layout. The floor was finished in glossy black tile — reflective enough to add depth while being safer and less chaotic than incorporating additional mirrors. Excessive reflections would have resulted in visual noise.
Navigating Reflections During Shooting
The sequence commenced in a real location before transitioning to the stage, where we could manipulate the geometry. Reflections remained a persistent challenge. Our A-camera operator, Matt Schween, donned a black “ninja” suit to blend into the glass. We also utilized a two-way mirror that could be positioned along one side of the hall for tracking profiles. This simple trick proved effective. I was particularly cautious about the glass quality this time; past experiences with cheaper materials had resulted in excessive light loss. The higher-grade glass we employed here only lost about two stops, which was manageable and provided a clean image.
For the shattering glass effect, the art department supplied six panes of delicate sugar glass, which we shot with pellet guns to shatter into tiny fragments. It’s astonishing how fragile — and costly — sugar glass can be. The team handled it with utmost care, rehearsing meticulously to ensure every take was perfect.
Illuminating a Mirrored Environment
Lighting posed another significant challenge. In a mirrored set, every light source is reflected endlessly. Instead of fighting this, we embraced it. We installed full-spectrum LED rope lights along the corridor’s ceiling. By altering the chase direction, we could have Bob moving with the flow while the goons moved against it, resolving many screen-direction issues in a space that might otherwise have been confusing. The LEDs were DMX-controlled and mounted in front of mirrored ceiling panels, adding depth without cluttering the floor.
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Camera Tests and Visual Aesthetic
We conducted extensive camera tests during preparation, experimenting with angles and lenses to determine where we could hide and how much distortion was acceptable. Those tests proved invaluable. We shot on the ARRI 35 with Panavision T-series anamorphic lenses, paired with a LUT created by Dave Hussey at Company 3. This setup provided a bold, colorful aesthetic with an underlying darkness that resonated with Hutch’s predicament. The hall of mirrors was never intended to feel realistic — it aimed to be immersive and slightly exaggerated, matching the film’s summer energy. While the first Nobody had a colder, wintry appearance, our version was designed to be brighter and more playful, while still maintaining an underlying sense of danger.
Collaborative Efforts Under Pressure
A sequence like this relies heavily on teamwork. Timo, Michael, Matt, my gaffer John Clarke, and I spent days exploring how to create the illusion of an endless set, conceal the crew, and maintain clear geography. Every department had to engage in constant problem-solving. Naturally, challenges arose. At one point, our DMX system failed completely, which could have cost us a significant portion of the day. Fortunately, John performed a miracle and restored it quickly. Such moments are stressful, yet they make the successful takes all the more rewarding.
Additional On-Set Challenges
The mirrored hallway wasn’t the only obstacle we faced during this film. We also constructed an oversized stage elevator with swinging walls, allowing Matt to move freely during a fight scene. We recreated a small-town police station and filmed it day-for-night under blackout tenting, resulting in a hot atmosphere that contributed to the sweaty ambiance we desired. Additionally, we filmed a night sword fight in the forest with RZA, who portrays Hutch’s brother Harry Mansell. That scene was interrupted by a tornado, forcing us to improvise lighting setups when our crane was hitting the clouds instead of the set. Each sequence presented its own unique set of challenges, but our goal remained consistent: to maintain the clarity and immersion of the action for the audience.
Key Takeaways
In a film filled with set pieces, the hall of mirrors stands out as the sequence where problem-solving and style coalesced most effectively. It embodies the playful, colorful, and dangerous tone that Timo and I aspired to achieve in this sequel.
My main takeaway is that you can’t always avoid reflections. Sometimes, the key is to work with them and allow them to become integral to the design. This approach made the sequence feel distinct. For me, that’s one of the most gratifying aspects of cinematography — transforming limitations into creative choices that provide the audience with an experience they wouldn’t have otherwise encountered.
