Cinematographer Edu Grau ASC, AEC, recently collaborated with the legendary director Pedro Almodóvar on “The Room Next Door,” which won the prestigious Golden Lion at the Venice Film Festival this year. Based on the novel “What Are You Going Through” by Sigrid Nunez, this film marks Almodóvar’s English language full-length debut and stars actresses Tilda Swinton and Julianne Moore. In this interview with ARRI, Grau reflects on the creative process behind the film, the challenges of translating Almodóvar’s distinctive style, and the pivotal role the ALEXA 35 camera played in realizing the director’s unique visual narrative.
Pedro Almodóvar is one of the most influential directors in the world, and this was your first project with him. How did your participation come to pass?
A few years ago, Pedro had seen a film I made in Spain and wanted me to collaborate with him. Unfortunately, at the time, I was waiting for the birth of one of my children, so I had to decline. I always wondered if I had made a mistake, but after a couple of years, I received a call from his producer, Esther García. Pedro had just seen my work and was preparing an American film. He was looking for a DP who spoke both English and Spanish and was familiar with American culture, and that’s how we began collaborating on “The Room Next Door.” I had never worked with him before, he usually collaborates with legendary cinematographers, but for this project, he wanted to explore new directions, he wanted to be surprised.
Director Pedro Almodóvar on set with ALEXA 35.
What was your experience like filming in Spain?
Most of the film was shot in Spain, even though the story is set in New York. We filmed for eight weeks in Spain and two in New York. Pedro has a unique way of working and has built a production company around his vision. He likes to have everything under control, which is why he preferred to shoot in Spain. We built the sets in Madrid, taking inspiration from real houses in New York. So, I spent three months in Spain with my whole family and it was an incredible experience for us all.
What were your thoughts regarding the location of the house in the film?
We talked a lot about the location of the house in the woods. Initially, we thought it wouldn’t be possible to find the kind of house we wanted in Spain because it wouldn’t look American. But in reality, the house, designed by the extraordinary architects Aranguren + Gallegos, is only 30 minutes from Madrid, in the Sierra, near El Escorial. When Pedro found this house, he was impressed and there was no way he wasn’t going to shoot his movie there.
“The house became part of the narrative and contributed to the film’s atmosphere, creating a sense of oppression and mystery,” shares DP Edu Grau.
Were there any difficulties related to the setting?
Yes, there were some elements that might not look “American,” like the trees, but in the end, it’s all about perception. Pedro builds imaginary worlds in his films, and this one is no exception. Even though the story is set in New York, it’s how Pedro sees the world that makes everything interesting. The house became part of the narrative and contributed to the film’s atmosphere, creating a sense of oppression and mystery.
How did the house as a structure affect the shooting process?
The house presented unique challenges, such as windows arranged diagonally and stairs that weren’t parallel to the walls, which made filming more difficult. However, this complexity also made the visual material much more interesting. In the end, what matters is the quality of the footage, not how hard it was to shoot.
ALEXA 35, with its unparalleled dynamic range and color reproduction, became the perfect tool for realizing Pedro’s vibrant vision.
Did you have specific visual references for the film?
When I started working on this project, I made it clear to Pedro that I wanted to create a film that was typically “Pedro Almodóvar.” However, Pedro made it clear, although he had a very particular vision, that this time he also wanted to be surprised by me. I am devoted to the directors I work with, and I want to tell the stories in a way that represents them best. So, my main reference for this film was Pedro’s cinema itself. I immersed myself in his style and studied his films carefully to capture that visual essence. I watched them all again, took notes, and gathered references, which taught me a lot about Pedro’s taste in cinematography, lighting, and camera work. The complexity of what Pedro has built, with his nuanced moments and various interpretations of the same style, is truly fascinating. My main goal was to honor his filmography as much as possible, but there were also other influences, like those of Edward Hopper. His painting, especially the use of color and light, created an interesting connection, as if Hopper’s art mirrored a sort of American version of Almodóvar.
Cinematographer Eduard Grau (l.) on set with Pedro Almodóvar and actresses Tilda Swinton and Julianne Moore.
How did you work with color in the film?
Color is central to Pedro’s cinema; he has a true obsession with color, and his choices are bold and vibrant. I didn’t want the color to be exaggerated but Pedro always instinctually adds touches of color here and there, like red, green, and blue. For him, it’s essential that the red we see on set is the same as the one that appears in the film. The collaboration between costume design, production design, and makeup is essential for the work of a cinematographer. And it’s in the soul of any film by Almodóvar.
“Color is central to Pedro’s cinema; he has a true obsession with color, and his choices are bold and vibrant.” – DP Edu Grau.
Did this approach to color influence your technical choices?
Initially, we considered shooting on film, but that proved complicated for production reasons. Pedro loves working digitally because it allows him to see the final image immediately. Once we decided to go digital, I was convinced that ALEXA 35 was the best choice. Its dynamic range and color reproduction are unparalleled. Pedro prefers bright images rich in color, so we needed a system that could effectively handle highlights. After some tests, we realized that ALEXA 35 combined with anamorphic lenses would allow us to achieve the desired result, highlighting the actresses and making them shine on screen.
