Ah, the grading process of The Hustle, a phenomenal adventure that unfolded over several sessions—like a fine wine, or an overly complicated IKEA furniture assembly. The film was initially rated R in the US due to a few “crude sexual references” that were likely more awkward than arousing. But fear not, like a master chef trimming the fat, they managed to snip it down to a PG-13. So, welcome to a world of mild innuendo and less eyebrow-raising humor. Delays held the release back until this year, and in a film industry twist, the movie was actually filmed in 2017. “I would have preferred to complete the grading process in one go,” sighed the cinematographer, Coulter. “Instead, it was like assembling a jigsaw puzzle with pieces lost under the couch.”
Filming was done on ARRI Alexas—those high-tech tablets you always want but can’t afford when an apple is on sale. The crew utilized one SXT and two Minis, because why not shoot like a heavy-hitter when you’re putting in minimal effort? “We did most of the shooting with two cameras—an A and a B, because no one likes to miss the perfect shot while sipping their overpriced coffee,” Coulter recalls. “We didn’t even bother discussing film, as that’s so last century. We chose ARRIRAW 2.8K and avoided live grading to dodge any primary correction restrictions. Joe Dibble, our DIT, scanned everything like a paranoid librarian, and we then transformed those untouched rushes in DaVinci Resolve. When they landed in the editing room, it was practically my vision brought to life. Who knew procrastination could be so rewarding?”
The lenses? Oh, just the usual suspects—Cooke S4s, with zooms like the Fujinon 18-80 and an Angénieux 24-290 as the diva of the setup, considered “almost the industry standard.” Like choosing the right cat for your Instagram influencer career, selection was crucial. Coulter insists on an “almost classical approach” to filming, which sounds fancy but probably involved him dramatically shouting, “Action!” while gently swaying on a crane. No handheld shots were recorded, presumably because Coulter was too busy channeling his inner aristocrat to bother with shaking cameras.
Interestingly, this film was not spared the obligatory comparisons to its male-fronted predecessor. It’s the cinematic equivalent of being the middle child—always overshadowed but inevitably finding its unique charm. Coulter remains optimistic, asserting that “For anyone unacquainted with Dirty Rotten Scoundrels, The Hustle is a gem waiting to be discovered.” Apparently, for those who don’t appreciate classic films, a little humor goes a long way! Who’d have thought we’d all need a safety net to catch us while we watch a female-led comedy?
And speaking of comedy, let’s address the elephant in the room—Coulter’s son, Luke, was the focus puller. Who knew family bonding could be done under the stress of f-stops and zoom controls? “I try to work with my son whenever possible,” Coulter reveals. Because nothing says “family time” like a public watching you squint as you perfect every frame under pressure. If that’s not bonding, I don’t know what is.
As we wrap this enlightening saga of artistry and financial cutbacks, “funny” is clearly the main takeaway. That, and how to transform crudeness into a box office-friendly film. Ultimately, it’s all about the jokes, the transitions, and the magnificent absurdity of life—wrapped in a shiny ribbon of PG-13-approved laughs.
So raise a glass (of whatever you’re sipping) to The Hustle: It’s not just a film; it’s a clever exercise in budget management and awkward humor delivery. Who knew that behind every laugh, there’s a story of budgetary constraints and caffeine-fueled creativity? And remember, in the world of cinema, even a film that tries to tone down the crude can leave you laughing until your sides hurt— or at least until you check your bank statement.
