Was the visual style of "Wrath of Silence"  inspired by other films?

I have to say that both "Prisoner" and "Sicario" had a lot of influence on me, and there’s a resemblance between the colors of the mountain in both "Wrath of Silence" and "Sicario." There’re also some tunnel scenes in "Sicario." I deliberately made the facial skin tone orange-ish to accentuate the burning anxiety of the characters; it helped to bring out the internal struggles and the overall ambience of the story. Roger Deakins loves the wide aspect ratio of the Master Primes. He has always amazed me with his ability to merge a good story and good visuals.

Why did you choose to shoot with Anamorphic lenses?

Before we started shooting, I came up with the idea of using high contrast, direct sunlight similar to the skies in northwestern China. I didn’t’ want to soften the exterior shots too much so I could build this cold and coarse texture. There were a lot of shots of mines, mountains, and people walking in the wilderness but also the office and chamber scenes were very important. We used Master Anamorphic lenses to try to heighten the unusual geography and the intense feeling of the film. With the wider nature of the anamorphic lenses, we could also capture more of the environment so that was another reason why we chose to use Master Anamorphic.