Podcasts about Aputure

SEASON 2 - EPISODE 196 Drew Kunin - Production Sound Mixer In this episode of the Team Deakins Podcast, we speak with production sound mixer Drew Kunin (DISCLOSURE DAY; HER; CROUCHING TIGER, HIDDEN DRAGON). Throughout the episode, Drew helps us understand how a production sound mixer might do his or her job in a number of different circumstances, drawing on experiences ranging from building a recording booth on wheels for HER to mixing CROUCHING TIGER phonetically using a pinyin script. Drew also describes the type of equipment he might use in certain situations, and he reflects on the changes in technology and in technique he's witnessed since he started his career. He later shares his approach to mixing tracks on set, and we discuss how his mixes can influence what happens in post. Drew also recounts his experience of being one of two Americans on the crew of CROUCHING TIGER in China, and he gives us a quick demonstration on the difference between Mandarin and Cantonese. We worked with Drew on THE GOLDFINCH and THE SECRET GARDEN, and we had a great time catching up with him. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 195 Jafar Panahi - Director In this episode of the Team Deakins Podcast, we speak with director Jafar Panahi (IT WAS JUST AN ACCIDENT, NO BEARS, THE WHITE BALLOON). Growing up amidst poverty in Tehran, Jafar's love for cinema began in childhood and led him to enroll in the film program at university. Unsatisfied with his final student film, he destroyed it, but he reveals to us why and shares how his approach to directing every subsequent film changed for the better. Throughout the episode, we discuss how he actually makes his movies—both as a filmmaker and as a citizen contesting with censorship and an authoritarian government. We discuss the making of THE WHITE BALLOON and THE CIRCLE, and Jafar shares how he attempts to make the events in his films feel as if they really happened. We also learn how and why he brings in non-actors during the casting process, and he reveals how he and his crew try to avoid government raids. We also discuss the making of IT WAS JUST AN ACCIDENT, which features a return to a more traditional form of storytelling compared with Jafar's preceding films, and he reflects on his period of making films while being banned from filmmaking. Translation conducted by Sheida Dayani. This conversation was recorded on February 12, 2026. If you enjoyed this episode, we recommend listening to our conversation with director Mohammad Rasoulof (Season 2, Episode 121). - Recommended Viewing: THE WHITE BALLOON, THIS IS NOT A FILM, THE CIRCLE - This episode is sponsored by Aputure 

SEASON 2 - EPISODE 194 Buddy Squires - Cinematographer In this episode of the Team Deakins Podcast, we speak with cinematographer Buddy Squires (THE AMERICAN REVOLUTION, BEYOND THE BEACH: THE HELL AND THE HOPE, BASEBALL). Buddy has worked on countless documentaries, ranging from vérité to recreations, and we spend the episode discussing how he sees his work and what he tries to achieve while capturing images of events happening in real time. Buddy has also worked with director Ken Burns since they met in college, and he gives us insight into their lifelong collaboration and their approach to portraying history. Buddy also recalls the winding path he took to reach documentary filmmaking, and he reflects on the filmmakers, photographers, and films that inspired him the most at the time. Buddy later reflects on his experiences shooting the humanitarian work featured in BEYOND THE BEACH across the Middle East, and we ask him if he feels documentaries can make a difference. We also discuss how digital camera technology has made Buddy's job easier, and he shares his review of the drone footage from the 2026 Winter Olympics. - This episode is sponsored by Aputure 

SEASON 2 - EPISODE 193 Lydia Dean Pilcher - Producer / Director In this episode of the Team Deakins Podcast, we speak with producer and director Lydia Dean Pilcher (A CALL TO SPY, QUEEN OF KATWE, THE DARJEELING LIMITED). From producing plays in her parents' garage to making feature films and documentaries seen around the world, Lydia has always been drawn to the power of stories. Throughout our conversation, we discuss the lifelong impact of growing up in the United States during the Vietnam War era, her varied work as a producer and director, and how she developed her skills working in the New York film scene. Lydia also reflects on her longtime collaboration with director Mira Nair, and we learn how Lydia helped produce many of Mira's films such as MISSISSIPPI MASALA and THE RELUCTANT FUNDAMENTALIST. She later helps clear up the differences between the numerous producer credits, and she reflects on how the business of producing and financing films has changed how she does her job nowadays. Plus, Lydia reveals which mountain she slept on while attending the inaugural edition of the Sundance Film Festival and which previous guest of the podcast spent nine weeks of nights working in the prop department of Martin Scorsese's AFTER HOURS. If you enjoyed listening to Lydia, then you'll love listening to her husband (and production designer) Mark Friedberg (Season 2, Episode 160). - This episode is sponsored by Aputure 

SEASON 2 - EPISODE 192 Chris Carroll - Assistant Director In this episode of the Team Deakins Podcast, we speak with assistant director Chris Carroll (THE MASTERMIND, YELLOWSTONE, NIGHT MOVES). Throughout the episode, Chris shares how he juggles the many duties of the role, and we learn how an early-career run-in with assistant director Michael Lerman (Season 1, Episode 85) set him on the path to becoming one himself. Chris also frequently collaborates with director Kelly Reichardt and cinematographer Christopher Blauvelt (Season 2, Episode 179), and he reflects on making films such as MEEK'S CUTOFF and NIGHT MOVES on limited budgets in remote locations. We later discuss the challenges of building out the schedule for production, and Chris shares how he tries to balance the needs of every department with the realities of the shoot. We also learn how Chris monitors and manages the crew's mood, and we discuss where he physically is on the day. We also learn how Chris works with extras, and he reveals how different his job can be on a television series like YELLOWSTONE. - This episode is sponsored by Aputure 

SEASON 2 - EPISODE 191 Diana Burton - Prop Master In this episode of the Team Deakins Podcast, we speak with prop master Diana Burton (WEST SIDE STORY, OKJA, THE SOPRANOS). We worked with Diana on PASSION FISH—directed by John Sayles (Season 2, Episode 55)—and it was great catching up with her. We learn what the prop department is and isn't responsible for in this episode, and Diana shares how she works with the other departments to help make the best film possible. Diana shares some early career stories from her PA days in New York City, from delivering tuna sandwiches to Madonna to watching a cougar roam the streets in the Upper West Side, and we discuss her thoughts on breaking into the prop department today. Diana also reveals how she approached designing the weapons for the machines in TERMINATOR GENISYS, and we learn why she always enlists an armourer to handle firearms on a shoot. Diana also shares her opinion on continuity, and we discuss how she feels when someone suggests to do something in post rather than in-camera. Plus, Diana reveals how she and two food stylists made all that food for JULIE & JULIA. - This episode is sponsored by Aputure 

SEASON 2 - EPISODE 188 - Nick Kazan - Writer In this episode of the Team Deakins Podcast, we speak with writer Nick Kazan (BICENTENNIAL MAN, MATILDA, DREAM LOVER). Nick has been writing professionally for decades, and we spend much of our conversation with him discussing what he finds to work and not work in a screenplay. Nick also shares his relationship to a script after it's entered production, and we discuss how changes made during production can enhance a scene. We also learn how he's balanced writing spec scripts with assignments, what his opinion of the three act structure is, what he needs to know before he begins writing, and when he recognizes his writing is working. Nick also shares how a Harold Pinter play inspired him to begin writing in the first place, and we learn how he's been chasing the experience of writing for the very first time ever since. Plus, Nick reveals why he didn't leverage his the reputation of his father (director Elia Kazan) to build his own career, and we ask Nick: "What makes a good writer?" - Recommended Viewing: SHAMPOO - This episode is sponsored by Aputure

SEASON 2 - EPISODE 189 - Titus Welliver - Actor In this extended episode of the Team Deakins Podcast, we speak with actor Titus Welliver (BOSCH, DEADWOOD, THE TOWN). If you listened to our conversations with cinematographer Michael McDonough (Season 2, Episode 159) or cinematographer and director Ernest Dickerson (Season 2, Episode 58), then you know we love BOSCH. We were thrilled to speak to Titus not only about his work on the show but also about his life, the unconventional road he took to becoming an actor, and his perspective on acting as a career. Titus also reflects on working with and learning from the late cinematographer Haskell Wexler, and we discuss the relationship between actors, the camera, and the entire camera department. We later learn how Titus enforced good behaviour on the sets of BOSCH, and he reveals how the writers of the show would deal with anyone not preparing properly. Titus later reveals some of the acting inspirations behind his performance of Harry Bosch, and he recounts an evening spent smoking pot and receiving wisdom from actors James Coburn and Robert Mitchum after moving to Los Angeles. - Recommended Viewing: BOSCH - This episode is sponsored by Aputure

SEASON 2 - EPISODE 190 - Steve Ramsey - Gaffer In this episode of the Team Deakins Podcast, we speak with gaffer Steve Ramsey (THE BRIDE!, WEST SIDE STORY, JOKER). We worked with Steve on THE GOLDFINCH, and we had a great time catching up with him. During our conversation, we discuss what a gaffer actually does, what his or her responsibilities can be, and how Steve adjusts his process to work with cinematographers ranging from Janusz Kamiński to Vittorio Storaro—and us! Steve also grants us insight into working on the sets of several Steven Spielberg films, and he shares how he and the film's cinematographer will prepare a scene to give room for Steven to follow his instincts. We also reflect on the rise of LEDs, and we discuss a few instances in which classic tungsten lights and gels solved a problem on the day. At the end of the episode, Steve gives his advice for anyone interested in a career as a gaffer, and we reflect on the job's non-descriptive title. - Recommended Viewing: WEST SIDE STORY (2021) - This episode is sponsored by Aputure

Photography expos and conventions can be game-changing experiences,  but only if you know how to approach them.In this episode, Jason and his assistant Krystal share behind-the-scenes stories and lessons from their recent travels speaking, networking, and creating at major photography events. They discuss the mindset needed to transition from attendee to presenter, how to build a personal brand that attracts speaking opportunities, and the importance of delivering value to everyone involved — from sponsors and event organizers to the photographers sitting in the audience. You'll learn practical strategies for:✨ Getting invited to speak at expos and conventions✨ Building relationships with brands in an authentic and professional way✨ Designing presentations that educate, inspire, and create lasting impact✨ Making the most of networking opportunities on and off the expo floor✨ Standing out in a crowded industry through consistency and purposeWhether you're new to conventions or ready to step onto the stage yourself, this conversation will help you navigate the expo world with confidence and clarity.

SEASON 2 - EPISODE 177 - James Slattery - Colourist In this extended episode of the Team Deakins Podcast, we speak with colourist James Slattery (THE LOST BUS, EMPIRE OF LIGHT, 1917). How does someone become a colourist? What do they really do? What is a CDL? DI? QC? DIT? P3? HDR? James, with whom we've worked with several times, graciously explains what all these acronyms (and more) mean, how a colourist generally goes about their work nowadays on any given project, and what he's able to do to help filmmakers solve problems and help realize their visions in the final stages of post-production. James has experience timing dailies and also applying the finishing grade, and he helps us explain the different responsibilities and expectations of each process. James later helps us provide an overview of the different types of deliverables for a film, and he shares some common mistakes young colorists today should avoid. Though the role of a colourist is technically and creatively demanding, James, throughout our conversation, stresses the importance of being able to work with others as a member of the team. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 176 - Chris Lowe - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Chris Lowe (BOB MARLEY: ONE LOVE, THE LAST JEDI, IN BRUGES). We worked with Chris on SKYFALL, and we had a great time catching up with him. In addition to production design, Chris has had a long career as an art director, and he helps us understand how the two positions work together on any given project and what each one's responsibilities are. Throughout the episode, Chris also shares his strategies for communicating with directors and producers, creatively adapting to shifting budgets, and delegating duties to members of the art department. We also reflect on why and how the Shanghai skyscraper scene in SKYFALL pivoted from a location to a set, and Chris shares an episode of creative problem solving from THE LAST JEDI involving the Millennium Flacon, Yoda, and a tree. Plus, Chris reveals how he built Bangkok in Prague during the COVID-19 pandemic for THE GRAY MAN. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 175 - Embeth Davidtz - Actor / Director In this episode, of the Team Deakins Podcast, we speak with actor and director Embeth Davidtz (DON'T LETS GO TO THE DOGS TONIGHT, MAD MEN, SCHINDLER'S LIST). Embeth's directorial debut, DON'T LETS GO TO THE DOGS TONIGHT (an adaptation of the book of the same name written by Alexandra Fuller), is one of our favourite films from this past year, and we spend most of our conversation learning how Embeth pulled it off. The film is centered around the experiences of a young white child living in Zimbabwe at the end of the Rhodesian Bush War, and Embeth shares how her own childhood memories of South Africa's Apartheid influenced her telling of the story. Among many topics, we discuss: the film's effective use of voiceover, Embeth's approach to directing the lead child actress, managing a monkey break-in on location, the deceptive allure of the Steadicam, how the movie was financed, and whether or not she considered changing the title. We also reflect on the challenges of navigating a career in the entertainment industry, and we learn what Embeth has planned next. - Recommended viewing: DON'T LETS GO TO THE DOGS TONIGHT - This episode is sponsored by Aputure

SEASON 2 - EPISODE 174 - César Charlone - Cinematographer In this episode of the Team Deakins Podcast, we speak with cinematographer César Charlone (PARTIDO, BLINDNESS, CITY OF GOD). Born in Uruguay, César found filmmaking after interrupting his veterinarian studies to hitchhike across Brazil. Throughout our conversation, we discuss César's general approach to cinematography, the degree of work he does in post, the amount of prep he performs before every film, and his long-time professional partnership with director Fernando Meirelles. César also reveals how he first met Fernando and describes how they worked together to create the look of CITY OF GOD and shoot the complex film with young non-actors. We later discuss how much César adjusts the image after capturing it on set, and we reflect on using any technology available to make the best film possible. In addition to his work as a cinematographer, César also co-directed THE POPE'S TOILET, and we discuss how he got involved with the project and the reality that inspired the film's story. César has also directed a film about Uruguay's José Artigas and worked on a documentary following Brazil's current Minister of Finance Fernando Haddad, and we discuss his commitment to documenting the realities of living in South America. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 173 - Kate Winslet - Actor / Director Actor and director Kate Winslet (GOODBYE JUNE, MARE OF EASTTOWN, HEAVENLY CREATURES) joins us in this extended episode of the Team Deakins Podcast. During our conversation, we discuss Kate's humble beginnings, inheriting an accent, good and bad direction, playing characters based on real people, and her experiences shooting her directorial debut, GOODBYE JUNE. In addition to her long career as an actress and newly begun one as a director, Kate has also recently stepped into the role of producing. We learn why Kate took on the extra challenge, how she balances her duties behind and in front of the camera, and what she looks for in a project to potentially join—in any capacity. While discussing GOODBYE JUNE, we learn how Kate found the script, why she ended up directing the movie, and how she applied a lifetime's worth of experience to create a space for the cast to just be their characters and perform. We worked with Kate on REVOLUTIONARY ROAD, and we had a wonderful time catching up with her. - Recommended Viewing: GOODBYE JUNE, MARE OF EASTTOWN, HEAVENLY CREATURES - This episode is sponsored by Aputure

SEASON 2 - EPISODE 172 - Kleber Mendonça Filho - Writer / Director In this episode of the Team Deakins Podcast, we speak with writer and director Kleber Mendonça Filho (THE SECRET AGENT, BACURAU, NEIGHBORING SOUNDS). Kleber was born in the northeastern region of Brazil, in the city of Recife, and many of his films take place in the city and surrounding areas. We reflect on the influence of Brazilian history and politics in his work, and we learn how Kleber generally approaches creating his movies set in Brazilian society. We  also discuss his latest film, THE SECRET AGENT, and the choices he made for telling a story set during Brazil's military dictatorship in the 1970s. Kleber also breaks down the making of his feature debut, NEIGHBORING SOUNDS, revealing the influence of DO THE RIGHT THING and the real life history behind the events within the film. Additionally, we learn how a younger Kleber balanced his duties as a film critic with pursuing his own filmmaking career, and Kleber shares what his current day-job is. - Recommended Viewing: THE SECRET AGENT, BACURAU, NEIGHBORING SOUNDS - This episode is sponsored by Aputure

SEASON 2 - EPISODE 171 - LEDs - with Jeffrey Lee, Ph.D. In this episode of the Team Deakins Podcast, we return to the world of LEDs. After speaking with Tim S. Kang (Season 2, Episode 165), we realized we had even more questions! To answer them, we invited Jeffrey Lee, Ph.D. who works at Fiilex Lighting as its Chief Product Officer to speak with us. We learn how Jeff's background in biology and physics and interest in the physical properties of light led him to work at Fiilex, and he shares what the company is doing to address the bottlenecks inhibiting further innovation in LED fixture design. Our questions run the gamut (again) on LED lighting technology, and Jeff teaches us how colour is really emitted from the fixtures. We also discuss how filmmakers and engineers deal with the spikes in a given fixture's colour spectrum, and we brainstorm future possibilities of the lights' designs. Plus, we learn the best tool to use to light worms, and we accidentally develop a new task for Jeff's intern. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 170 - Cristian Mungiu - Director In this extended episode of the Team Deakins Podcast, we speak with director Cristian Mungiu (R.M.N., GRADUATION, BEYOND THE HILLS). Cristian's films—which we deeply admire—largely focus on social issues in his native country of Romania, and though they are told in his own unique voice, his films explore problems many in the world face today. We learn how the fall of communism and Ceaușescu's regime in Cristian's youth enabled him to become a filmmaker, and he reflects on the lingering effects of the country's cinematic culture before and after the Romanian Revolution. We spend much of our conversation discovering how Cristian approaches filmmaking and cinematic storytelling, and he shares how he works on any given day in production. Cristian also reveals how his films are received by Romanian audiences, and we discuss our commitment as filmmakers to presenting the truth as we see it. Plus, Cristian lets us know what to expect in his upcoming feature, FJORD. - Recommended Viewing: R.M.N., GRADUATION, BEYOND THE HILLS - This episode is sponsored by Aputure

SEASON 2 - EPISODE 169 - Edgar Wright - Director Director Edgar Wright (THE RUNNING MAN, SCOTT PILGRIM VS THE WORLD, SHAUN OF THE DEAD) joins us in this episode of the Team Deakins Podcast. Edgar is responsible for one of our favourite films, SHAUN OF THE DEAD, and we didn't miss the opportunity to ask as many questions about it as we could. He shares the film's connection to director Mike Leigh's (Season 1, Episode 76) work, and we learn how the film was developed during Edgar's free time while directing television at the BBC. We also learn how he got his first directing gig at the broadcaster at age 21, and he reveals the veteran crew members' reactions to discovering he wasn't a nepo baby. We later discuss his general approach to coverage, his strategy to pick up inserts, and how he protected his creative identity when he began shooting films for Hollywood. Plus, Edgar reveals why he decided to direct THE RUNNING MAN, and we learn how it differs from the previous adaptation. - Recommended Viewing: SHAUN OF THE DEAD - This episode is sponsored by Aputure

SEASON 2 - EPISODE 165 - LEDs - with Tim S. Kang In this episode of the Team Deakins Podcast, we learn about LED lighting. LEDs are now commonplace in productions, and we thought an episode about the technology and its applications could be helpful for anyone with as many questions as us. Our guest is Tim S. Kang, a cinematographer and the principal engineer for imaging applications at Aputure, and we start by learning how Tim came to work on this side of the business. He also helps us understand a number of topics, including: the history of lighting in cinema, the definition of spectrum, the evolution of LEDs, and the possibilities of lighting in post. We also discuss the efforts to institute a standard among LED fixtures, and we reflect on the historical problem cinematographers have always faced: inconsistencies with light sources. - This episode is sponsored by Aputure & Sandstorm

The Cinematography Podcast Episode 315: Stephen Murphy The FX and Hulu limited series Say Nothing is a historical drama that explores the harrowing period known as The Troubles in Northern Ireland, spanning four decades from the 1970s to the 1990s. The series delves into the complexities of the conflict, focusing on sisters Dolours and Marian Price and their part in the IRA. The sisters' involvement in the 1972 abduction and murder of Jean McConville, a widowed mother of ten, is a devastating narrative in the show. Her disappearance, and her family's decades-long search for answers, provides a heart-wrenching backdrop to the larger conflict. Irish cinematographer Stephen Murphy, BSC, ISC worked on the final two episodes of the series. He's earned a Best Cinematography BAFTA and IFTA nomination for his work on Say Nothing. “Say Nothing is a real story about the very real horrors of what happened in Ireland during The Troubles,” he says. “But I think in a modern context, given what's going on in the rest of the world, it has a lot to say about the idea of romanticizing rebellion and how somebody could be interested or attracted to that, and slowly over time, fully come to realize the consequences of what they're doing.” Stephen has cultivated a reputation for his masterful use of darkness in his work, a key reason he was brought on board for the series' conclusion. “A lot of the work I do is dark and it deals with darkness. I really like darkness more than I like the light probably,” he laughs. In the finale, Dolours Price finally reveals her role in Jean McConville's disappearance. To depict the events of what happened that night, the crew was on a rural stretch of dirt road and dunes alongside the ocean. As a storm approached, Stephen had to change the lighting plan, relying instead on car headlights and flashlights to illuminate the scene. “It actually worked out far better than my original plan was going to. It was more truthful, it was probably darker, but I think it worked better for the story and better for the tone and the atmosphere,” he says. When approaching emotionally resonant scenes, Stephen strives for a visual simplicity that guides the audience without distraction. “I think for me, it's a question of figuring out a way to get out of the way of the camera and not try and impose anything overly stylistic on the scene,” he says. “I love visual simplicity. And I'm trying to present the scene in a way that is helping the audience focus on what's important to the scene and not be distracted by unnecessary showmanship.” Beyond Say Nothing, Stephen Murphy also served as director of photography for two episodes of the second season of The Tourist, the Netflix dark comedy starring Jamie Dornan as an amnesiac. Find Stephen Murphy: https://www.stephen-murphy.com/ Instagram: @stephenmurphybsc See Say Nothing on FX on Hulu See The Tourist on Netflix Hear our previous interview with Stephen Murphy: https://www.camnoir.com/ep303/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

SEASON 2 - EPISODE 138 - Suzie Davies - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Suzie Davies (CONCLAVE, SALTBURN, MR. TURNER). Suzie once thought she'd be a sheep farmer, but after working for model-makers on commercials, she found herself drawn to the art department and filmmaking. A frequent collaborator with director Mike Leigh (Season 1, Episode 76), Suzie reveals how they first met and how she works with him within his unique process. We also learn how the boundaries of production inform Suzie's general approach to design, and she shares how she tries to help directors realize their creative visions within these limits. Later, Suzie reflects on the challenge of finding period locations in the modern world, and we discuss how she augments locations to suit the film's reality. Suzie also shares what made the estate in SALTBURN so unique as a location, and we learn how she balanced the production of that film with weekend location scouts in Rome for CONCLAVE. Throughout the episode, Suzie reflects on how she made the most of the opportunities presented to her throughout her career, and we discuss the enduring appeal of being just a sheep farmer. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 137 - Stefan Nikolov - Location Manager Location manager Stefan Nikolov (SOMEBODY SOMEWHERE, JUSTIFIED: CITY PRIMEVAL, SHAMELESS) joins us in this episode of the Team Deakins Podcast. Originally from Bulgaria, Stefan followed his journalist parents around the world before landing in Chicago where he has since built a career in the locations department. We discuss how he worked his way up the ladder, and Stefan breaks down the different roles in the department. Throughout our conversation, Stefan shares many stories from his career, and we learn what to do when an alligator hunt prevents the crew from parking the vans where you need them. We also learn about the potential consequences of living in a home made famous on television, and we discuss why a film would come to Chicago to shoot for another real-world location. And at the end, Stefan gives his advice to anyone trying to break into the locations department. This episode was recorded in front of a live audience in Chicago at the Athenaeum Center.  - This episode is sponsored by Aputure

SEASON 2 - EPISODE 136 - Judy Becker - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Judy Becker (THE BRUTALIST, CAROL, BROKEBACK MOUNTAIN). Judy's love for art and collaboration began at the age of 3 and developed throughout her childhood, and after discovering the theatre department in high school, she found her way into the New York filmmaking scene. Having worked in a number of projects across many different periods of history, Judy shares how she approaches bringing those spaces to life, and we reflect on the fact that absolute accuracy to a period doesn't always look real on the screen. Later, during our discussion of her work on THE BRUTALIST, Judy reflects on the challenges of communicating with a crew whose language is nothing like her own, and she reveals how they fought for scraps of plywood and found (and built) post-war America in Hungary. Judy also shares how she approached designing The Institute—the architectural centerpiece of the film—and she reveals how they used the scale model they built in the actual shoot. We also discuss the differences between working on location and in a stage, and Judy shares the creative attraction to working on producer Ryan Murphy's many television shows. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 135 - Simon Hayes - Production Sound Mixer In this episode of the Team Deakins Podcast, we speak with production sound mixer Simon Hayes (WICKED, LES MISERABLES, SHAUN OF THE DEAD). At 14, Simon followed his father to set to learn sound. At 15, he then won the European BMX Championship. And at 16, he quit school, immersed himself in the industry, and honed his skills during the boom times of British commercials. Simon shares how early-career nights at Soho bars led to his professional relationships with directors Guy Ritchie and Matthew Vaughn, and we discuss the lessons he learned about protecting live performances on those early films. Simon  reveals how an idea from Meryl Streep changed the approach to recording the songs of MAMMA MIA!, and he later shares his own views on the effectiveness of boom mics and radio mics. Simon also reveals how they actually recorded the live vocals of LES MISERABLES without pre-recorded backing tracks, and he reflects on how his experiences in recording studios enabled him and his team to coordinate the complex musical numbers in WICKED with seasoned recording artists and leading actresses Cynthia Erivo and Ariana Grande. Plus, Simon reveals where he hid Elphaba's radio mic. - This episode is sponsored by Aputure

Rachel Mason's documentary, Last Take: Rust and the Story of Halyna, is not a sensationalist recounting of tragedy. It's a deeply personal exploration of the life and untimely death of cinematographer Halyna Hutchins, whose life was tragically cut short on the set of Rust. Rachel, a friend and fellow filmmaker, centers the narrative on Halyna herself, weaving together interviews with her friends and colleagues to illuminate her legacy beyond the sensationalized headlines. Rachel and Halyna became friends through their children, who were classmates at the same daycare. This shared experience blossomed into creative collaboration, with Rachel and Halyna working together on music videos, gallery installations, and performance art pieces. Following Halyna's death, her widower, Matt Hutchins, entrusted Mason with the task of creating a documentary, out of a desire to counter the overwhelming media frenzy. “At first, the idea of doing a documentary about Halyna made literally no sense,” Mason recalls. “She's the person I wanted to make films with. Suddenly I had to recognize, no, she has passed on, and someone's got to tell the world who she was.” Rachel dove into Halyna's filmography and personal film archives that she had stored on hard drives. Halyna's detailed notebook for Rust, filled with ideas and references, offered a profound insight into her creative process. While Rachel wanted to create a beautiful biography about her friend, she recognized the need to confront the media's portrayal of the shooting. “The media portrayal of the way things unfolded became part of the film, because all the different people involved got distorted in the media. That became part of grappling with this story and trying to find the truth by going back and meeting the real people who were there.” As Halyna's friend, Rachel gained the trust of Halyna's colleagues on the film, who shared their memories of her. Halyna's own words from her notebooks and in messages and emails add to the narrative. Rachel also had to sit through the trial of the armorer, Hannah Gutierrez-Reed, which was one of the of the hardest things she had to do for the documentary. The decision to complete Rust after Halyna's death sparked ethical debates within the film community. However, her family, including her mother, strongly supported the project. Rachel, who was granted exclusive access to the set during filming, believes that finishing Rust was essential. “Halyna wanted the world to see her work. She was so ambitious,” Mason emphasizes. “I have no doubt, Rust was gonna be the film that all the other directors would see a new, up and coming superstar. This would have taken their breath away. She would have gotten calls—she would have been a high level DP.” You can see Last Take: Rust and the Story of Halyna on Hulu. Find Rachel Mason: https://www.futureclown.com/ Instagram:@futureclown Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

SEASON 2 - EPISODE 134 - Nathan Crowley - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Nathan Crowley (WICKED, DUNKIRK, INTERSTELLAR). After growing up in England, Nathan's dreams of selling secondhand sports cars in LA were cut short after a run in with set designer and fellow countryman Joe Hodges at a bar outside Paramount, and we learn how Nathan dove headfirst into the art department after assisting Joe on HOOK. Nathan later shares how he made the jump to heading the department himself, and we discuss his approach to production design throughout the episode. We uncover the reasoning behind the aesthetic choices of DUNKIRK, and Nathan shares how he accounted for the practicalities of filmmaking during a globetrotting location scout to help realize the vision of INTERSTELLAR. In the back half of the episode, we discuss Nathan's recent work on WICKED, and he shares what attracted him to the film and what scared him about designing one of the most well-known worlds in the American imagination, and he reveals how Donna Langley, the head of the studio, helped convince production to plant millions of tulips for the film. Plus, Nathan shares a key lesson he learned while working with director Michael Mann about following his instincts. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 133 - Lisy Christl - Costume Designer In this episode of the Team Deakins Podcast, we speak with costume designer Lisy Christl (CONCLAVE, ALL QUIET ON THE WESTERN FRONT, FUNNY GAMES). Originally from Bavaria, Lisy did just about everything she could do to avoid the film industry, and she shares several moments from her career when other filmmakers would not take her “no” as an answer. Lisy later reflects on her 10-year-long collaboration with director Michael Haneke, and she reveals the inspiration for the all-white outfits of the two men in FUNNY GAMES. We also discuss Lisy's work on CONCLAVE, and she reveals what inspired her to adjust the typical garb worn by the cardinals. During our discussion of her work in TIME OF THE WOLF, Lisy shares the costuming decision she made to bring the audience to the present in a scene that recalled a scenario out of the Middle Ages, and she reveals the lengths she and her team went to design silent puffy jackets out of consideration for the sound department. We also discuss Lisy's work in ALL QUIET ON THE WESTERN FRONT, and she describes how and why she empowered herself to make choices that may not have been exactly period appropriate. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 132 - Post - with Ed Lachman In this special episode of the Team Deakins Podcast, cinematographer Ed Lachman (Season 1, Episode 77) joins us to talk about post-production from the point-of-view of a cinematographer. Throughout the episode, Ed shares a bounty of his own observations regarding colour, luminosity, and depth of field, and we share our own perspectives on the perceived effects of anamorphic and spherical lenses. We later discuss the fatiguing effect of a monotonous montage of dark images, and Ed reveals a recent revelation about the relationship between resolution and colour. We also discuss the different (and complicated) methods of mimicking film in digital images, and we reflect on the importance of making your image look the way you want in-camera. We also ask Ed what he might do differently today to achieve the same Douglas Sirk-inspired look of Todd Haynes' FAR FROM HEAVEN, and Ed even brainstorms what he might do on his upcoming film shooting later this year. - This episode is sponsored by Aputure

Heart Eyes isn't your typical horror film or romantic comedy. It's a genre-bending fusion of sweet romance and chilling slasher horror. Cinematographer Stephen Murphy, BSC, ISC has crafted a film that authentically captures the tone of both genres. This ambitious goal required a nuanced approach to lighting and color, a visual language that could seamlessly transition between heartwarming romance and heart-pounding terror. Director Josh Ruben “was very clear from the beginning that he wanted to make a very earnest love letter to rom-coms AND to slasher movies- particularly rom-coms and slasher movies from the 80s and 90s,” says Stephen. “He didn't want us to shortchange either one. He wanted to make a genuine rom-com and a genuine slasher movie, but in the same film.” Stephen found it challenging mixing the two genres to find the right balance. The film begins with the warm, inviting tones of a classic rom-com, bathed in warmer colors that create a sense of comfort and affection. As the sinister presence of the Heart Eyes Killer emerges, the palette begins to shift into blue, moonlight shade that signal the arrival of horror. It was important to Stephen that the horror elements wouldn't succumb to gloomy, underexposed visuals. He aimed for clarity, using harder backlights and harder shadows to maintain a sense of definition and keep the actors looking their best, even amidst the chaos. This approach ensured that the rom-com aesthetic persisted, even as the slasher elements intensified. Both Ruben and Stephen were influenced by the movie I Know What You Did Last Summer and Jaws. They used storyboards for key moments in certain scenes, then built the rest of the scenes around the boards. Filmed in New Zealand, Heart Eyes was a fast-paced production, moving from greenlight to release in just twelve months. The film's horror sequences relied on a blend of practical and visual effects, with the Heart Eyes Killer's mask being a prime example of practical effects. Made in Los Angeles, Stephen had time to practice lighting it and testing the light-up eyes. During preproduction, Stephen discovered that keeping constantly moving lights on the killer in the mask kept it looking sinister. Stephen's previous experience working on horror films proved invaluable on Heart Eyes. He also was a cinematographer on the TV series Atlanta and Mr. & Mrs. Smith, for episodes shot in Europe. On these projects, he enjoyed the creative freedom to explore different styles and shoot those episodes a bit differently than the rest of the series. Heart Eyes is currently available for purchase on VOD. Find Stephen Murphy: https://www.stephen-murphy.com/ Instagram: @stephenmurphybsc Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

SEASON 2 - EPISODE 131 - Ben Davis - Cinematographer In this episode of the Team Deakins Podcast, we speak with cinematographer Ben Davis (THE BANSHEES OF INISHERIN, GUARDIANS OF THE GALAXY, LAYER CAKE). During our conversation, we talk all things cinematography, and we learn what it was about a film set that initially appealed to a younger Ben. We also discuss the importance of knowing how a film is going to be cut, and Ben reflects on his path working up the grades of the camera department. A frequent collaborator with director Martin McDonagh (Season 2, Episode 19), Ben shares how he and Martin typically prep, and he describes their process for working on THE BANSHEES OF INISHERIN. We also discuss how Ben balances shooting with multiple cameras, and he compares the experiences of shooting on films with many resources against those with much fewer. We later discuss the pitfalls of pre-vis, and we reflect on the different practices of manipulating film stock and digital footage. Plus, Ben shares his best impression of producer Dino De Laurentiis - This episode is sponsored by Aputure

SEASON 2 - EPISODE 130 - Peter Kurland - Production Sound Mixer Production sound mixer Peter Kurland (THE BALLAD OF BUSTER SCRUGGS, NO COUNTRY FOR OLD MEN, WALK THE LINE) joins us in this episode of the Team Deakins Podcast. We've worked with Peter many times over the years, and we had a wonderful time catching up with him. In the beginning of the episode, Peter shares the two versions of his origin story, both of which begin in Nashville, and we learn how he was repeatedly enlisted in roles in the sound department without any training. A former boom op, Peter also fills us in on the subtle differences between boom mics and radio mics, and we learn how Peter communicates potential sound problems to a director and to production at large. Peter also shares how he best fulfills requests from post-production, and we discuss how we try to capture what the director wants, even when they don't want to think about it. And, at the end, Peter shares his thoughts on recent changes in the film industry. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 129 - Brad Ingelsby - Writer Writer Brad Ingelsby (MARE OF EASTTOWN, THE WAY BACK, OUT OF THE FURNACE) joins us in this episode of the Team Deakins Podcast. A self-professed overwriter, Brad shares his personal approach to screenwriting, and we break down the parts of a story we like the most as viewers and as filmmakers. We later discuss the ever-shifting nature of a script from prep through post-production, and Brad shares how he thinks about when to reveal pieces of information that lead to the most effective telling of a story. We also ask Brad about THE DYNAMITER, an early film in his career, and he shares how the film evolved from an AFI thesis film into a full feature. We also reflect on the role of research in screenwriting, from spending time in a particular community to convincing its members to tell you what's wrong with your script, and Brad shares how he tries to integrate resources from a specific area into the actual shoot of a project. Brad also compares writing for film against writing for television, and, at the end, we ask Brad what advice he would give to a young screenwriter today. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 128 - Deadliest Catch - Arom Starr-Paul & David Reichert In this special episode of the Team Deakins Podcast, we're talking about one of our favourite shows: DEADLIEST CATCH. Executive producer Arom Starr-Paul and cinematographer David Reichert join us for a lengthy discussion and generously answer our many questions about how the show actually gets made. We first learn how both men made their way to the Bering Sea as camera operators and worked their way into their current roles after many years. Later, Arom shares how the show's storytelling evolves over the course of a season and how the crew identifies which storylines to follow out at sea. David also highlights the day-to-day responsibilities of the cameramen and women on the boats and reveals how he coordinates the look of the show across the huge fleet of crabbing boats featured in every season, and we learn how they sift through 40,000 hours of footage down to just 20. Roger also compares his fishing strategies with those in the fleet from the show, and we reflect on the ecological changes in the oceans and in the practices of fisheries. - This episode is sponsored by Aputure

Sugarcane is a powerful documentary film that delves into the dark history of abuse and murder at a Canadian residential school. These Catholic boarding schools in North America and Canada have caused lasting trauma across Indigenous communities. The film centers around the Williams Lake First Nation in British Columbia, where a ground-breaking investigation into the St. Joseph's Mission residential school is underway. Sugarcane is Oscar-nominated for Best Documentary Feature. Director Emily Kassie is an Emmy and Peabody-nominated investigative journalist and filmmaker. She was compelled to tell the story of the ongoing investigation and asked journalist and co-director Julian Brave NoiseCat to be a part of the team. NoiseCat's family has an intimate and painful connection to the residential schools. His father, Ed Archie NoiseCat, was born at St. Joseph's Mission to a student there. The NoiseCat family story became inextricably woven into the fabric of the documentary. Emily envisioned a film that was not only informative but also deeply sensitive. She partnered with cinematographer Christopher LaMarca, whose verité style of filmmaking hinges on the power of time, trust and truth. Over two and a half years, Kassie and LaMarca spent 160 days in Williams Lake, embedding themselves within the community. “The approach to true verité filmmaking is time,” says Chris. “You need lots of time to shoot this way. You need to spend time with people before you even start shooting so that they trust you. It's a way of being instead of just being a cinematographer.” Emily fully embraced Chris's approach. “For me, what comes with time is trust and intimacy,” she says. “It was so important to earn the trust of this community that has been ravaged by colonization, that has been lied to and betrayed by white people since they arrived on the land.” This trust informed every aspect of their filmmaking. The decision to use prime lenses, for example, was a deliberate choice. Instead of the distancing effect of a zoom lens, prime lenses required the filmmakers to physically move closer to their subjects, fostering a sense of connection and intimacy. “Prime lenses render the face and space differently than a zoom does,” Chris notes, emphasizing the importance of physical proximity in creating a sense of genuine conversation. The resulting close-up shots, born from their time spent in the community, offer a powerful and intimate glimpse into the lives and experiences of those affected by the residential school. Both Emily and Chris were shooting with a Canon C500 Mark II camera at all times, simultaneously filming and recording their own sound. The emphasis on capturing dialogue was crucial, allowing them to connect the dots in the ongoing investigation and understand the full scope of the story. Emily meticulously logged and organized all the footage, immersing herself in the project for three and a half years. She became intimately familiar with every piece of research and evidence uncovered in the residential school archives. For Chris, the most vital part of their process happened after each day of filming. Every night, they would download the footage and reflect on the moments that resonated most deeply. “You're recalling all of the things that hit your heart the hardest and penetrated the deepest,” he explains. “And in that moment, that's where the film starts to get made – not on paper, but from the heart, being totally clear and focused on what was happening in the day.” Sugarcane premiered at the 2024 Sundance Film Festival and is available to stream on Disney+ and Hulu. Find Emily Kassie: http://www.emilykassie.com/ Instagram @emilykassie Find Chris LaMarca: http://www.christopherlamarca.com/ Instagram @christopher_lamarca Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/ The Cinematography Podcast website: www.camnoir.com

SEASON 2 - EPISODE 127 - Adrien Brody - Actor Actor Adrien Brody (THE BRUTALIST, SUMMER OF SAM, THE PIANIST) joins us in this episode of the Team Deakins Podcast. We worked with Adrien on THE VILLAGE, and it was great catching up with him. Early in our sprawling conversation about his career and his craft, we discuss what he learned as a young actor working with directors of great caliber—from Juan José Campanella (Season 2, Episode 80) to Spike Lee and Ken Loach—that led to his lauded performance in THE PIANIST. Later in our discussion of THE BRUTALIST, Adrien reflects on his collaboration with director Brady Corbet and shares what his first concern as a performer was when told the film would be shot on loud VistaVision cameras, and Adrien reveals the personal family history that informed his moving performance and shares how he and his fellow filmmakers pulled the film off with relatively limited resources. Towards the end our conversation, we also consider actors' and cinematographers' reliance on others to reach creative fulfillment, and we ask Adrien if he thinks it's possible to learn how to act. Plus, Adrien explains how to jury-rig a polaroid camera battery into a makeshift hand warmer. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 126 - Tye Sheridan - Actor In this episode of the Team Deakins Podcast, we speak with actor Tye Sheridan (THE ORDER, READY PLAYER ONE, MUD). Coming out of rural east Texas, Tye reflects on getting his start as a child actor on THE TREE OF LIFE and MUD, and we discuss the type of personality it takes to deal with the transient life of a filmmaker. Tye is also the co-founder of Wonder Dynamics, which currently offers an AI-based performance capture solution for filmmakers without a large VFX budget, and we discuss the company's origins and how the technology actually works. Tye later recounts the casting process for READY PLAYER ONE that ended with him nerding out with director Steven Spielberg over E.T., and we discuss the working conditions of independent films that have made them so attractive Tye as an actor. We also discuss Tye's experience working on THE ORDER, and we end the episode reflecting on the evolution of the industry in the digital age.  - This episode is sponsored by Aputure

SEASON 2 - EPISODE 125 - Deborah Scott - Costume Designer Costume designer Deborah Scott (AVATAR, TITANIC, DEFENDING YOUR LIFE) joins us in this episode of the Team Deakins Podcast. During our wide-ranging conversation, we learn how a childhood diet of drive-in theatre westerns developed her appetite for cinematic storytelling, and we discuss Deborah's long career outfitting characters representing extraterrestrial aliens, the denizens of the afterlife, and everyday people from our past, present, and potential futures. Deborah also reflects on her experience embodying the characters of E.T. THE EXTRATERRESTRIAL to develop the children's costumes for the film, and she details the level of rigor with which she preps before presenting a director with ideas after being brought aboard a project. Deborah also contrasts the difficulty inherent in the open-ended nature of designing for sci-fi films with the specificity inherent in period films, and she highlights the invaluable contributions from the entire costume department that facilitate the realization of all that clothing on screen. Plus, towards the end, Deborah shares how she juggles being a parent and being a filmmaker. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 124 - Quyen Tran - Cinematographer On this episode of the Team Deakins Podcast, we speak with cinematographer Quyen Tran (AHSOKA, MAID, PALM SPRINGS). We start the episode with Quyen's harrowing recollection of her experience in New York City on 9/11, and she reflects on how the event steered her life towards filmmaking. While studying film at UCLA, Quyen fell into documentary filmmaking, and she shares how she's since branched into directing television and miniseries. She reveals who gave her the initial push to even try directing, and she reveals what she enjoys about it compared to cinematography. We also discuss the films and shows that influenced Quyen early in life, and we share our appreciation for the universal visual storytelling in THE BENNY HILL SHOW and I LOVE LUCY. We later learn how Quyen used lighting to lean into the darker moments of the sci-fi comedy PALM SPRINGS, and she shares how she feels her experiences as a director has made her a better cinematographer. Plus, Quyen reveals what we included in the “Roger Deakins lighting kit” distributed to her class while we were the cinematographer-in-residence at UCLA years ago. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 123 - Andrew Dunn - Cinematographer Cinematographer Andrew Dunn (GOSFORD PARK, THE CRUCIBLE, THREADS) joins us on this episode of the Team Deakins Podcast. Andrew has worked on a wide range of films throughout his career, and we discuss the many different problems he was faced with and the lessons he learned overcoming them. Among these stories, we focus on Andrew's time shooting THE CRUCIBLE, and we learn how the cast and crew worked through the challenges of shooting the renowned story on-location. Andrew later reflects on shooting DOWNTON ABBEY: A NEW ERA and honouring the hit show on the big screen, and he shares why he doesn't mind making movie stars look like movie stars. We also learn how Andrew initially broke into the industry through editing at the BBC, and we discuss the value of knowing how to construct a scene in relation to what precedes and follows it. Later, Andrew regales us with tales of his days shooting docs for the BBC, which acted as a training ground for upcoming talent at the time, and, at the end, he shares how he's seen filmmaking change from those early years to today. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 122 - Jo Plaete - VFX Supervisor VFX supervisor Jo Plaete (HERE; ALIEN: ROMULUS; FURIOSA) joins us on this episode of the Team Deakins Podcast. Jo is also the Chief Innovation Officer at Metaphysic, and we spend much of the episode discussing the company's AI technology and its use in several recently-released films. Having come up through the VFX world, Jo compares the techniques of more traditional VFX artists to what he does today using artificial intelligence, and he likens the recently spotlighted technology to “proceduralism on steroids”. We get a deep dive into the tech behind the de-aging AI used on HERE, and Jo shares how the technology integrated itself into the production process to let the crew see what the final effect would look like in real-time. Jo also reflects on some of the troubleshooting that occurred between departments during production, and we discuss whether the filmmakers were working around the AI or if the AI was working with them. Jo also shares how data is fed into the technology to build out the model's understanding of a person's face, and Jo shares what they do with all that data once the show wraps. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 121 - Mohammad Rasoulof - Director On this episode of the Team Deakins Podcast, we're joined by director Mohammad Rasoulof (THE SEED OF THE SACRED FIG, THERE IS NO EVIL, A MAN OF INTEGRITY). Mohammad's films have come at great personal cost, both to himself and his fellow filmmakers, and as deep admirers of his work, we were thrilled to speak with him. After learning how Mohammad found his way into filmmaking, we discuss how he outmaneuvered the Iranian regime's censorship apparatus to covertly make many of his films, and Mohammad reflects on his pivot from using metaphorical cinematic language to using a far more direct language to create images of modern Iranian society. Frequently imprisoned for his films' clear-sightedness of his country, Mohammad shares how he was forced to repeatedly watch his 2020 feature, THERE IS NO EVIL, with his prison guards, and we discuss the pedestrian origins of the four-part film about the country's death penalty. We also learn that Mohammad's films have never been screened publicly in Iran, and he reflects on his films acting as “cinematic boomerangs” that play internationally and find their way back to his Iranian audience through the country's black market. We later discuss the symbolic imagery present in the beginning and end of THE SEED OF THE SACRED FIG, and we learn his reasoning as to why he finally fled from Iran for good after the film's completion. Translation conducted by Iante Roach. - Recommended Viewing: Every Mohammad Rasoulof film - This episode is sponsored by Aputure

SEASON 2 - EPISODE 120 - Pinar Demirdag - Co-Founder & CEO of Cuebric In this episode of the Team Deakins Podcast, we wade into the world of artificial intelligence through a conversation with Pinar Demirdag, the co-founder and CEO of Cuberic, a generative AI platform. What follows is a lively discussion about the future possibilities of AI in filmmaking, its current applications in cinema today, and all the ethical and practical questions these changes raise. Pinar also explains what it is that Cuebric actually does, and we discuss the potential ramifications of the proliferation of generative AI tools to filmmakers around the world. Throughout the episode, we reflect on being products of the times we live in and lived through, and Pinar shares to what end she sees artificial intelligence developing. We also reflect on the pace of innovation in the seemingly fast-growing field, and, at the end, we learn which Stanley Kubrick film ultimately inspired the name of her company. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 119 - Edu Grau - Cinematographer Cinematographer Edu Grau (THE ROOM NEXT DOOR, PASSING, A SINGLE MAN) joins us in this episode of the Team Deakins Podcast. After an encouraging compliment from his art teacher, Edu attended a then-newly established film school in his hometown of Barcelona where he learned to foster his passion for filmmaking. Edu shares with us how, after a six month drought from work, he was selected by director Tom Ford to shoot A SINGLE MAN, and we reflect on working with actor/directors pulling double-duty. We later discuss Edu's involvement on PASSING and the joy of shooting in black-and-white, and we ruminate on the nature of prep and the nagging anxiety of riding around in the van. Towards the end of the conversation, we later learn how Edu approached his work on THE ROOM NEXT DOOR and eschewed naturalism to help realize director Pedro Almodóvar's unique vision. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 118 - Mark Bridges - Costume Designer In his podcast debut, costume designer Mark Bridges (THE FABELMANS, JOKER, PHANTOM THREAD) speaks with us on this episode of the Team Deakins Podcast. Mark was once a costume assistant on BARTON FINK and HUDSUCKER PROXY alongside Mary Zophres (Season 1, Episode 80), and he shares how he made the jump to being a costume designer in his own right after meeting director Paul Thomas Anderson to work on his debut feature, HARD EIGHT. Throughout the episode, we discuss Mark's approach to his work, and he shares how he builds out a character's closet through diligent research and frequent testing. We also discuss how Mark communicates with the hair and makeup department, and he describes the types of conversations he has with the actors embodying a film's characters. Later, Mark discusses how he designs costumes in black-and-white, and he reflects on the extra legwork done to get ahead of any potential problems while shooting on location. And, while sharing advice at the end of the episode, Mark cautions young designers against making it about the money. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 117 - Rachel Clark - Cinematographer Cinematographer Rachel Clark (EDGE OF SUMMER, QUEENIE, I AM RUTH) joins us on this episode of the Team Deakins Podcast. Hailing from northeast England, Rachel, far-removed from the film industry, nonetheless found her way into the camera department and has since worked her way up the grades to helm the department herself. We discuss the challenges and obstacles in her journey to becoming a cinematographer, and she reflects on the stubbornness that pushed her through them all. We also discuss how her approach to working as a DP has evolved, and she reflects on her experiences shooting I AM RUTH within the bounds of director Dominic Savage's unique vision. Rachel also shares her experience shooting EDGE OF SUMMER with children and her yearning to film as much as possible on location in a nearby tin mine. Plus, we learn about Rachel's fortuitous early-career run-in with cinematographer Robbie Ryan dancing in a field at a music festival. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 116 - Melinda Sue Gordon - Still Photographer On this episode of the Team Deakins Podcast, still photographer Melinda Sue Gordon (OPPENHEIMER, KILLERS OF THE FLOWER MOON, LICORICE PIZZA) joins us to discuss the ins and outs of on-set still photography. We learn how Melinda Sue fulfills studio requests while navigating the many personalities of a cast and crew just trying to make the day, and she shares her approach to capturing images that faithfully represent the characters and tone of a film's story. We later learn why Melinda Sue pivoted to still photography after studying cinematography at AFI, and she reveals how she cold-called her way onto RAISING ARIZONA early in her career. We also discuss how she successfully adapted to the advent of digital photography, and we learn how most of her images are only ever used internally at a studio to develop a marketing campaign—and (in a major scoop) Melinda Sue reveals which widely-distributed still from KILLERS OF THE FLOWER MOON was actually a composite. At the end of the conversation, Melinda Sue shares her advice to aspiring on-set still photographers listening in, and we reflect on the pleasure of staring at one static photograph amidst today's glut of imagery. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 115 - Dominic Tuohy - Special Effects Supervisor Special effects supervisor Dominic Tuohy (THE BATMAN, 1917, EDGE OF TOMORROW) joins us in this episode of the Team Deakins Podcast to discuss the craft of special effects. With a father active in the film industry, Dom was taken in by the special effects team at Pinewood Studios at an early age, and he's been working in the department for the past 40 years. Throughout the episode, we discuss the invaluable verisimilitude of special effects, and Dom muses over the magic inherent to filmmaking's smoke and mirrors. He later unmasks the secrets behind pulling off the Batmobile chase in THE BATMAN, and we learn how stunt coordinator Rob Alonzo creatively spent his time during the pandemic induced pause in production to pre-visualize the sequence. Dom also reveals the painstaking (and sometimes painful) work that he and his team endure to push the envelope and make an effect even better. Towards the end of the conversation, Dom reveals how he advises any young person interested in making a life out of making movies, and we reflect on the high price (and deep pleasure) of working in the industry. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 114 - PEDRO PÁRAMO - with Rodrigo Prieto On this special episode of the Team Deakins Podcast, our friend and former guest Rodrigo Prieto (Season 1, Episode 112) joins us to discuss his directorial debut, PEDRO PÁRAMO, an adaptation of the eponymous and iconic Mexican novel written by venerated author Juan Rulfo. The focus of our conversation centers around Rodrigo's experiences as a first-time director, and we cover the lifetime of the film's journey from prep to release. Rodrigo starts by sharing how he came to direct the project in the first place, and he reveals why he felt he could be the one to tell this story today. We later discuss the novel's legacy within Mexico and Latin America, and we learn how the themes of the complex story informed many of Rodrigo's creative choices, from retooling the script to casting the appropriate actors. Rodrigo also shares what his biggest surprise was as a first-time director, and he reflects on the naturalistic direction of his telling of the story while discussing the 1967 adaptation of the novel. We also discuss the leniency with light enabled by modern digital cameras, and Rodrigo reveals how an added budgetary pressure can lead many to avoid spending money on lighting packages of any kind. Throughout the episode, Rodrigo reflects on his love for the magic trick that is cinema, and we learn if and how often he plans to direct again!   PEDRO PÁRAMO is available worldwide on Netflix. - Recommended Reading: Pedro Páramo by Juan Rulfo  - Recommended Viewing: PEDRO PÁRAMO - This episode is sponsored by Aputure

SEASON 2 - EPISODE 113 - Technical Knowledge for Cinematographers - with David Mullen In this special episode of the Team Deakins Podcast, we're joined by our friend and cinematographer David Mullen (Season 1, Episode 83) to discuss what and how much technical knowledge a cinematographer ought to know these days. The conversation includes specific explanations of technical details (such as the difference between film grain and digital noise) and more general subjects (such as the importance of telling a story and eliciting an emotional response from the audience). We also share a number of work stories, including Roger's early-career exposure to cinematographer Douglas Slocombe's internal light-meter and David's experience seeing his work on a TV show smothered by a yellow filter during post. Reflecting on the diversity in images in older Hollywood films despite limited film stock and optical options, we maintain the position that the look of a film is the product of a cinematographer's eye (rather than the technology one uses), and David elucidates how cinematographer Oswold Morris developed the desaturated look of director John Huston's adaptation of MOBY DICK using the technology available to him to serve the storytelling. We also reflect on the lost knowledge of how films were made in the early digital days of the 2000s and stress the need to study and remember filmmaking history, recent and ancient. Towards the end, we also consider director Yasujiro Ozu's prolific and effective use of a single 50mm lens when the conversation drifts towards the phenomenon of people avoiding “boring lenses”. Plus, we highlight the need to understand basic high school mathematics (no excuses!).   Cinematographers at all levels, from the aspiring to the battle-worn, can enjoy and learn from this discussion, and we hope you enjoy listening. - This episode is sponsored by Aputure