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Cinematography Podcast

January 28, 2020

James Laxton, ASC on Best Picture winner Moonlight and If Beale Street Could Talk: working with Barry Jenkins and Kevin Smith, his early career and influences

James Laxton attended Florida State University film school, where he met fellow student Barry Jenkins. He worked steadily on several small and acclaimed movies before Laxton and Jenkins had breakout success with Moonlight, winning Best Picture in 2017. The two followed up that success with If Beale Street Could Talk, which also won several awards, including Best Supporting Actress for Regina King. James Laxton is currently shooting The Underground Railroad, a limited television series for Amazon directed by Barry Jenkins, which is an adaptation of the Colson Whitehead novel.

January 20, 2020

Cinematographer Byron Werner talks The Last Full Measure, working with director Todd Robinson and Ed Harris on Phantom, the latest tech and apps he uses as a DP

An extremely seasoned director of photography, Byron Werner began shooting anything and everything that came his way once he graduated film school. Byron faced several challenges on his upcoming film, The Last Full Measure. Shot on location in Thailand, the film has many practical effects shots and very little VFX. The camera crew shot from helicopters and with multiple cameras- sometimes as many as 5 or 6. The Last Full Measure starring Sebastian Stan, Samuel L. Jackson, Christopher Plummer, and Bradley Whitford opens wide Friday, January 24.

January 13, 2020

Director Lulu Wang talks The Farewell, developing her personal story for the screen, working with Awkwafina, shooting in China

The Farewell is based on Lulu Wang’s own true story about her family conspiring to hide her grandmother’s terminal cancer diagnosis from her. Producer Alana Kode sat down with Wang at the Sundance Film Festival last year to talk about how she developed real events in her own life into a film, selecting her cinematographer, and how she cast Awkwafina in the lead role. Awkwafina recently won a Golden Globe for Best Actress for her role in The Farewell- the first Asian American to win in this category.

January 7, 2020

DP Paula Huidobro on Barry, Tallulah, working with Bill Hader, Emmanuel Lubezki, and Norman Lear

Paula Huidoboro first became drawn to telling a story with images as a young teen while taking photography classes at the local museum of modern art. One of her early learning experiences was as a camera intern for well-known cinematographer “Chivo” Emmanuel Lubezki. Paula was thrilled to work with actor/creator Bill Hader on finding the balance between violence and comedy on the HBO hitman/dark comedy “Barry.”

December 30, 2019

Walt Lloyd, ASC on Sex, Lies, and Videotape, Kafka, Short Cuts, The Hitcher, The Perfect Storm, Pump Up the Volume, Empire Records, Alien Raiders, and much more

Walt Lloyd happened upon John Boorman’s crew shooting Deliverance in Georgia and decided he wanted a job in the movie business. His first big break was as a camera assistant on the 1983 film Never Cry Wolf, directed by Carroll Ballard. One of Walt’s earliest films as director of photography was on sex, lies and videotape for first-time feature filmmaker Steven Soderbergh. Host Ben Rock and Walt Lloyd also have a personal connection- Walt was the DP for Ben’s feature film, Alien Raiders.

December 24, 2019

Alik Sakharov, DP turned director, on Game of Thrones, House of Cards, The Sopranos, Ozark, and the director/DP relationship

Alik Sakharov shot many feature films and television series such as The Sopranos, Rome, and Game of Thrones before moving into the director’s chair. Alik feels cinematography, directing and writing must work together to create a story, and it’s difficult to separate one from the other. He is currently executive producer of the Netflix series The Witcher.

December 16, 2019

Phedon Papamichael, ASC talks Ford v. Ferrari, his love of racing and classic cars, working with director James Mangold

Phedon Papamichael and director James Mangold created an exciting, visceral experience of auto racing for Ford v. Ferrari, rather than the basic panning wide shots used in sports broadcasting or car commercials. Phedon had to shoot extremely close to the speeding cars in order to capture the effect of high velocity.

December 9, 2019

Lawrence Sher, ASC, talks about creating the look of Joker with director Todd Phillips

When setting out to make Joker, Lawrence Sher and director Todd Phillips decided to go for an intimate, 70’s style of movie that’s character-driven, rather than the large scale, elaborate looks typical of today’s comic book superhero/villain films. Joaquin Phoenix had some leeway to improvise and play with the character. Larry and Todd Phillips’ background of working with comedians on movies such as The Hangover made them feel comfortable with improvisation.

December 3, 2019

M. David Mullen, ASC: Emmy-winning cinematographer for The Marvelous Mrs. Maisel, films Twin Falls Idaho, Northfork, and more

David Mullen got his start making straight-to-video low-budget genre movies. He went on to shoot six films with Michael and Mark Polish, including Twin Falls Idaho and Northfork. David’s cinematography on the Amazon show The Marvelous Mrs. Maisel recently earned him an Emmy award. Season 3 of The Marvelous Mrs. Maisel begins December 6th on Amazon Prime.

November 25, 2019

Rodrigo Prieto, ASC: Oscar-nominated cinematographer for Silence and Brokeback Mountain, talks Martin Scorsese, The Irishman, The Wolf of Wall Street, Amores Perros, Argo and more

Rodrigo Prieto has shot many different movies with numerous looks and feelings. The Irishman is Rodrigo’s third collaboration with Martin Scorsese, who has always been a huge inspiration for him, and it was also an amazing experience working with such skilled actors on the film.

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