Lucifer star-turned director Kevin Alejandro has explained how he pulled off the explosive mid-season finale of the popular Netflix series.
Alejandro, who has previously directed an episode in the third series of the show, took the reins for the action-heavy episode, shared some secrets about his process for the epic fight, which saw Tom Ellis play both Lucifer and his twin brother Michael.
And speaking to Entertainment Weekly, Alejandro said, “We did it in such a way that on one day, we tried to shoot everything [with] Tom as Lucifer, and only shoot that stuff. Then the next day, Tom came back as Michael, so he didn’t have to worry about switching the characters on and off. That seemed to do us some justice as far as the scheduling goes.”
The director – who also plays Detective Daniel Espinoza on the series – admitted when he was first given the script he thought, “What the hell? How the heck am I supposed to do this” and revealed it was “a three-day monster to put this whole fight together”.
“The trickiest part of those sequences was going in and out of the dramatic action,” he added. “You’re doing little chunks and pieces of fighting, but you have to remember there’s a packed scene as well. That’s always hard for me – to find that point of tension we’re at dramatically outside of the fighting.”
Alejandro went on to discuss some of the key emotional beats he focused on, saying, “I had to look at each [character] individually because they’re all going through something different.”
And, interestingly, he confessed the most difficult shot in the finale wasn’t actually connected to the fight scene.
“The most difficult one was the opening of that episode where Dan has shot Lucifer and it’s in slow-mo,” he said. “That seems like it was so easy, but that was the hardest shot of the episode because we had to order a special piece of equipment that would keep the camera steady and move around it at the frame-rate that we wanted to get the desired effect.
“It was a piece of machinery that nobody had used yet, so it took us hours to figure how to work it so precisely because the shot was so specific. What started off to be, ‘That should be easy,’ we were like, ‘What the heck? Why is this so difficult?’
“Because you’re shooting at such a specific frame rate that’s so high, it’s picking up every movement [and] the actor can’t move… It was a real jigsaw puzzle to put together.”