In a 2022 interview with Script, Ana Lily Amirpour detailed how she arrived at the film's photographic style: "The lenses---now I'm in New Orleans and these trees, the geography of the place is very upwards, and so I went to really wide lenses: 15 millimeters, 10 millimeters, sometimes this amplified, slightly distorted Terry Gilliam. I'll always do this with everybody, show the movies---like The Fisher King (1991), 12 Monkeys (1995), and Edward Scissorhands (1990), and start getting these ideas of some of the kind of vibes it would have. And then once you're there and in the place, and on the day, you start finding the rhythm of what the movie is and the movie comes alive and starts there. Because even if I have something ordered, and I think it's going to be a certain way, sometimes it'll be exactly like that, and sometimes we'll do this or kind of tweak around and do that. And that's one of the most exciting things."