'Euphoria' Showrunner Sam Levinson & Cinematographer Marcell Rev

Sam Levinson and cinematographer Marcel Rev used season three of Euphoria as a laboratory for visual reinvention. After moving from digital to film in season two, they introduced a bespoke Kodak film stock and embraced 65mm celluloid, making the series the first television show to shoot extensively on that format. Wider frames replaced the earlier subjective handheld style, giving characters room to exist within a more objective, memory‑like world. This technical leap not only elevated image fidelity but also signaled a deliberate shift toward cinematic storytelling that resonates with both streaming audiences and traditional film enthusiasts.

The creative team leaned heavily on Western and old‑Hollywood influences to shape the season’s aesthetic. By studying classics from Rio Bravo to Casablanca, they crafted a visual language that feels both timeless and fresh. The iconic Glass Slipper set exemplifies this blend—burlesque glamour meets frontier grit, built on stage six at Warner Bros. with tungsten lighting and custom textures inspired by Mike Tyson’s Ohio home. These design choices create a distinctive backdrop that supports the narrative while honoring cinema history, reinforcing Euphoria’s reputation for bold, genre‑bending production design.

Beyond visuals, Levinson emphasized character‑driven drama, especially as the story moves past high school into a harsher adult landscape. Scenes like Nate and Cassie’s brutal fight were re‑examined to ensure they reflected the characters’ psychology rather than pure action tropes. A carefully curated Hans Zimmer‑style score further grounds the emotional stakes, marrying modern sound design with classic motifs. Together, the technical innovations, thematic references, and psychological focus illustrate how Euphoria continues to push the boundaries of television cinematography while staying true to its core storytelling mission.