Unveiling the Enigmatic World of Crime-solving: A Gripping Tale for Network TV

Summary

The Irrational is a gripping and intense crime series adapted from the renowned novel, Predictably Irrational, authored by Dan Ariely. In this thrilling narrative, we follow the compelling journey of Alec Mercer, a disfigured amnesiac, as he delves into perplexing cases, all the while piecing together the puzzle of his own haunting past.

To set the tone for the entire series, cinematographer Todd A. Dos Reis strived to create a visually thrilling and distinct pilot. By utilizing lighting, lenses, and coloring, each character's perspective is uniquely portrayed, enhancing the show's suspense and unpredictability. Dos Reis, director David Frankel, and actor Jesse L. Martin, who portrays Alec Mercer, fostered a supportive and trusting collaboration. Together, they crafted a captivating world that captured viewers' attention and facilitated a connection to Alec's narrative.

The pilot episode of The Irrational is currently available for streaming on Peacock, with subsequent episodes airing on NBC on Mondays. This procedural series, which is based on Dan Ariely's novel Predictably Irrational, follows Alec Mercer, a professor of human behavior who helps law enforcement officers solve mysterious cases. However, Alec, a burn victim who can't remember the details of the night that scarred him, is also determined to unravel the mystery of his own traumatic event.

Todd A. Dos Reis, an experienced cinematographer in the camera and electrical department, serves as the cinematographer for The Irrational. Dos Reis has worked on various well-known projects, including SEAL Team, Crazy Ex-Girlfriend, and Entourage. The cast is led by Jesse L. Martin from Law & Order and The Flash, with Maahra Hill, Travina Springer, Molly Kunz, and Arash DeMaxi also starring.

Todd A. Dos Reis Talks The Irrational

Todd A. Dos Reis exclusively discusses with Screen Rant his creation of a gripping and intense network TV procedural, where Alec unravels the mystery before the viewers. (Please note that this interview took place during the 2023 WGA and SAG-AFTRA strikes, and the show discussed here owes its existence to the hard work and dedication of the writers and actors from both unions.)

Screen Rant: You’ve worked on projects like Crazy Ex-Girlfriend and Entourage, so how did The Irrational help you flex different creative muscles than you’re used to?

Todd A. Dos Reis discussed his experience of being approached by pilot director David Frankel to take on a procedural, which he saw as a challenge. Together, they explored their shared love for films like Seven and Clockers, which inspired them to create a dark and dramatic tone for the pilot. While Dos Reis had prior experience with dark and dramatic content, this was his first time applying it to a procedural. He viewed this as an opportunity to push himself creatively and eagerly accepted the challenge.

During the pilot shoot, Dos Reis recognized the significance of setting the tone for the entire series. He emphasized the importance of capturing the essence of the story for himself, the cast, and the crew.

Todd A. Dos Reis: For every pilot I work on, I strive to make it exceptional in order to captivate the audience and ensure their return for the subsequent episodes. It is true that pilots are granted more time and resources, which can create an unfair advantage for the rest of the series. However, my goal is to make each episode stand out visually and leave a lasting impact. My team and I aim to incorporate visually dynamic elements in the story that complement the scripts. I derive all my ideas from the script, carefully digesting it and translating it into compelling visuals. The primary objective is to make the first scene or opening sequence leap off the screen, enticing viewers to watch the entire episode. I always strive to make it visually stimulating for them.

Considering Alec's distinct background in human behavior, did his unique traits influence the specific shots you aimed to capture in the pilot?

Todd A. Dos Reis aimed to portray different characters' perspectives on the story in the pilot episode, focusing on their individual memories. He achieved this by employing various techniques such as using different toys, lenses, lighting, and coloring for each character. Additionally, the flashback of Alec Mercer, the protagonist, was intertwined with potential suspects for the crime, creating a complex narrative. By showcasing diverse visual interpretations, Dos Reis aimed to highlight the subjective nature of perception. Inspired by author Dan Ariely and real-life figure Alec Mercer, he sought to explore how memories can deceive and emphasized ambiguity in order to keep the audience uncertain about the truth and the reliability of different characters.

We carefully strategized the differentiation between flashbacks and present-day scenes during the pre-production of the pilot. By planning and envisioning each character's memories in advance, we were able to create distinct visual aesthetics. For instance, we designated a specific look for the memories of the young accused kid, while ensuring that each character's memories had their own unique visual style. While we couldn't extensively utilize color, we attempted to introduce variations and added a different lens perspective to each character's memories to create an immersive experience.

Can you give some insight into your work with Jesse L. Martin and the director? How did you help viewers connect to Alec through their screens in just 40 minutes?

Todd A. Dos Reis: David Frankel and I have a long history together, including working on the pilot for Entourage. We have a strong rapport and have collaborated on multiple projects before. Working with Frankel during the preparation stage is a delight because he values collaboration and is receptive to new ideas. It was truly amazing to work with the legendary Jesse L. Martin. Having watched him in 200 episodes of Law and Order, being able to finally be in the same room as him was a great experience.

From the moment we met, it felt like we had been friends for years. Conversations with him flowed effortlessly, and I assured him that he could trust me to create the world he would inhabit. We have an open dialogue, where if something isn't working, he communicates it to me, and likewise, if I notice something that he should be aware of, I inform him. Our relationship on set was truly fantastic.

In a show like The Irrational, which is filled with anticipation, how can the camera be used to create suspense through visuals rather than relying on music or other elements added during post-production?

Todd A. Dos Reis: Apart from incorporating specific looks and colors, I aim to disrupt the audience's perception, preventing them from easily figuring things out. Unlike other procedural shows where everything is laid out in the teaser, we wanted to make it more complex and unconventional so that viewers can't easily solve the mystery. Our goal is for them to reach the end and have Alec Mercer unravel it. I'm not sure if it always succeeds, but I believe it definitely worked in the pilot. Even while filming it, I found myself thinking, "Oh, he did it. Okay."

Did you want to conceal any clues in the background?

Todd A. Dos Reis: It's difficult to recall if we left any clues during the pilot as it was a while ago. However, Arika, the showrunner, always communicated clearly which clues would be visible before Alec discovered them. The direction for the story always came from Arika, Sam, and Mark. I'm not sure if there were many clues, but what I would do is visually hide them and blur them out as much as possible. I wasn't intentionally aiming for "Oh, there it is in the background," but more like "Let me obscure it with a piece of glass so it's not easily noticeable, but still present."

Was there a collaboration with the stunt coordinator to ensure the capturing of the necessary shots and the execution of the stunts in the most effective and safe manner?

Todd A. Dos Reis: Absolutely. During the pilot, we had ample time for preparation. Countless meetings were held to discuss the approach to each stunt. We leave no stone unturned when it comes to covering stunts, making sure every angle is captured thoroughly. Our priority is the safety of the actors and crew, while also providing an exhilarating experience for the viewers. We are continuously in dialogue, investing hours of discussion into every stunt. So, without a doubt, yes.

Has filming for the entire season been completed since you mentioned it's been a while since shooting the pilot?

Do you have any preferred genres, or are you open to any compelling story that catches your attention?

Todd A. Dos Reis: I am particularly drawn to unique and original narratives. I find satisfaction in experiencing something I haven't encountered before. This is why I tend to avoid procedurals. I truly enjoy the cinema and often find inspiration from watching innovative films. Regarding television, I occasionally indulge in Euphoria. However, I predominantly lean towards films and frequently visit the theater to watch them. At the moment, I am preparing for a zombie film, so I am immersing myself in Korean zombie television shows and movies.

About The Irrational

Check out our interview with Eric Fraser, the production designer of "The Irrational."

The Irrational airs Mondays at 10pm ET on NBC and is available to stream next day on Peacock.