The anticipation surrounding Daredevil: Born Again, Marvel’s much-anticipated return to the beloved series from the Netflix Defenders universe, has been palpable. The return of Charlie Cox as Matt Murdock/Daredevil alongside Vincent D’Onofrio as the formidable Wilson Fisk/Kingpin has only heightened excitement. Their compelling dynamic remains a highlight in Born Again, which has garnered critical acclaim and has already been renewed for a second season currently in production.
(Warning: Minor spoilers for the series below, although no significant plot points are revealed beyond the initial scenes of the first episode.)
Initially, Born Again was proposed as an episodic reboot rather than a straightforward sequel to the original Netflix series. However, following the Hollywood strikes of 2023, the show underwent a creative overhaul. Although six episodes were mostly completed, the studio opted to realign the series more closely with the tone of its predecessor. This led to a complete reshoot of the pilot episode, along with new footage added to ensure continuity with the original story while also integrating references to other Marvel characters.
This strategy proved effective in fine-tuning the narrative. Fans were taken aback when the pilot killed off Matt’s close friend and law partner, Foggy Nelson (Elden Henson), within the first ten minutes, prompting his devastated partner, Karen Page (Deborah Ann Woll), to leave the firm by the episode’s end. This bold choice allowed the series to delve deeper into the parallel journeys of Matt and Fisk. While Matt immerses himself in his legal career, Fisk is elected mayor of New York City, determined to abandon his criminal past. Yet, both characters find themselves grappling with their darker impulses.
The end product resonates with its predecessor while establishing its own unique identity. Much of this is attributed to cinematographer Hillary Fyfe Spera, who worked closely with the production team to vividly bring Born Again’s visual dimension to life. Drawing inspiration from classic 1970s films such as Taxi Driver and The French Connection, Fyfe Spera explained her approach, stating, “I’m a big fan of films of the ’70s, especially New York films. This felt like a great opportunity to utilize that as a reference. There’s a lot of paranoia, and it’s truly character-driven, even within a comic book context.”
Ars Technica spoke with Fyfe Spera to gain further insight into her creative process.
Karen, Matt, and Foggy share a moment of camaraderie before tragedy strikes.
Matt dedicates himself to his legal practice.
Wilson Fisk ascends to the position of New York City’s mayor.
Ars Technica: I was surprised to learn that you never watched an episode of the original Netflix series when designing the overall look of Born Again. What was your rationale for that?
Hillary Fyfe Spera: I wanted to avoid preconceived notions before diving in. While I have friends who worked on the original series and have viewed some sequences, my focus was on crafting something new. We certainly pay tribute to the original, but I aimed to infuse fresh ideas based on the character’s identities and how authentically New York itself plays a role. Reflecting back, much of our vision naturally aligned with what the original series represented.
Ars Technica: I was intrigued by your choice of anamorphic lenses, seemingly to capture that ’70s vibe, especially in the city-wide shots.
Hillary Fyfe Spera: I had a strong intuitive feeling about the lenses from the outset. The decision to use a 2.39 aspect ratio felt fitting for the urban landscapes we sought to present. Anamorphic lenses enhance the comprehension of relationships within the composition. In depicting the opposing forces of the characters, this format enriches that connection. We often employ center framing—achievable with wide-screen perspectives—for broader storytelling, utilizing vintage Panavision anamorphic lenses to incorporate organic textures into our shots.
Matt finds romance with Heather Glenn (Margarita Levieva), his therapist.
Fisk and his spouse Vanessa (Ayelet Zurer) are seen in marriage counseling.
Ars Technica: It seems that New York City is a significant character in the series, influencing visual storytelling. Was that a motivating factor for utilizing location shooting as much as possible?
Hillary Fyfe Spera: Filming on location in New York has its challenges, from unpredictable weather to navigating crowds. We often use practical elements like steam and wet-downs to emulate the city’s authentic ambiance. The process is exhilarating, allowing for spontaneous adaptation to real-world conditions. I appreciate the chance to embrace these elements, letting in unexpected elements such as the setting sun and fluorescent lights that contribute to the atmosphere, albeit imperfectly.
Ars Technica: Did any unexpected moments arise during filming that you decided to incorporate into the show?
Hillary Fyfe Spera: Absolutely! During an interior shoot, a camera operator captured an incidental halo effect from a reflection in a table set by our production designer, Michael Shaw. This element elevated the scene so significantly that we had to include it. Similarly, much of our street footage came from spontaneous captures in the bustling environment—like hotdog carts and iconic city pigeons—which enhanced the show’s authentic vibe.
A serial killer known as Muse creates chaos downtown.
In a desperate turn, Matt dons the Daredevil costume to confront Muse and rescue a young girl.
Ars Technica: The relationship between Matt Murdock and Wilson Fisk is central to the narrative. How does your cinematography enhance this relationship visually?
Hillary Fyfe Spera: As they revisit their alter egos, the visual representation becomes crucial. Both characters are destined to be intertwined, and it’s an engaging challenge to illustrate that duality. We utilize distinct lens choices to encapsulate their journeys. For Fisk, we employ wide-angle lenses aimed low to emphasize his imposing presence, especially as his dark persona resurfaces. Meanwhile, for Matt, the use of red lighting signifies the struggles he faces as he grapples with returning to Daredevil after Foggy’s passing. The visual narrative shifts as their paths diverge, with Fisk emerging into the light as Kingpin and Matt descending into darker realms.
Therefore, as the series evolves, we adjust our lighting methods to reflect each character’s transformation. In a heated diner scene, Matt is featured in handheld shots, contrasting with Fisk’s more stable, studio-lit presence, illustrating the tension between them.
Ars Technica: The series has incorporated darker themes and visual styles, which may present issues for audiences with televisions not calibrated for such environments.
Hillary Fyfe Spera: Yes, even when I visit my parents, I find myself adjusting their TV settings. Many viewers might not experience the material as intended; however, I enjoy the intrigue of darkness. My inspiration derives from films like The French Connection. With digital tools, achieving contrast and depth can be challenging; nonetheless, it’s an exciting aspect of cinematography to explore darker aesthetics. Viewer adaptation to such nuances is gradually progressing.
Jon Bernthal reprises his role as Frank Castle, also known as the Punisher.
In the series, Matt assists bank manager Yusuf Khan (Mohan Kapur), father of Ms. Marvel, in thwarting a robbery.
Ars Technica: The fight choreography presents its own challenges for a cinematographer.
Hillary Fyfe Spera: I can’t emphasize enough the contribution of my gaffer, Charlie Grubbs, and key grip, Matt Staples. We frequently shoot fight sequences with three cameras, which adds complexity to our lighting scheme since each angle requires distinct approaches to ensure clarity. It’s essential to highlight movements without creating a muddy visual experience. Collaborating with stunt coordinator Phil Silvera helps us combine cinematic flair with effective storytelling, employing dynamic lighting techniques to enhance the sequences without sacrificing realism.
Our work is a conversation where we aim to support the action while crafting visually stunning moments that reflect the narrative’s excitement.
Ars Technica: Will you maintain the same visual style for Season 2?
Hillary Fyfe Spera: I have never returned for a second season on any project. However, this experience has been different. While I cannot guarantee a direct continuation, we aim to evolve the visual style based on the story arc established. The conclusion of season one leaves room for growth, and we intend to build on that while introducing new characters and storylines, keeping our grounded, ’70s New York look along with new comic book cinematic elements.
