Podcasts about Cinematography

David Long returns for Holiday Bets part 1 of 2 as we discuss betting lines at the Oscars AND Golden Globes for the categories of Best Picture, Supportings, Screenplay, Score, Song, Animated, Cinematic or Box Office Achievement and International Feature. Mike 1's Annual Gambling Tutorial - 2:19 . Picture: Musical or Comedy at the Golden Globes - 6:41 Globe Picture: Drama - 13:57 Oscars Best Picture Winner - 18:21 Nominations for Oscars Best Picture - 25:49 . Supporting Actress at the Golden Globe & Oscars - 37:52 Supporting Actor - 52:14 . Other Categories at the Globes and Oscars including Best Screenplay, Animated Feature, Cinematic or Box Office Achievement, Original Song, Score, and Non-English Language Film at the Globes - 57:42 . OUTRO: Make sure to follow David Long on X/Twitter as he'll be posting about gambling this winter. https://x.com/1DavidLong Please stay tuned for Part 2 of this Holiday Bets special where we will discuss the rest of the available betting lines for the Golden Globes and Oscars Including for Lead Actor and Actress, Best Director, Casting, Cinematography, Film Editing, Production Design, Makeup and Hair, Costumes and Sound Design. Otherwise, please follow us on social media and support our show by liking, subscribing, rating and reviewing us. As always, thank you for doing so. https://linktr.ee/mikemikeandoscar

We extract Ben Affleck’s “Argo” and discuss: Cinematography, camerawork; Story & Writing, mini-movie method; and other such stuff and things and stuff. “God help me if I ever do another movie with an explosion in it. If you see me in a movie where stuff is exploding you’ll know I’ve lost all my money.“ – […] The post Ep 350: “Argo” appeared first on The Pestle.

Send us a textIn this episode of Entertain This!, we engage in an insightful dialogue with acclaimed cinematographer Evan Stone, celebrated for his contributions to Expedition Unknown, Destination Truth, and Expedition X. Evan imparts his expertise in documenting the excitement of authentic explorations, encompassing the navigation of challenging landscapes and the recording of enigmatic occurrences. Explore the technical complexities associated with filming in isolated environments, the progression of adventure-oriented television programming, and the artistic choices that animate intriguing narratives on screen. Furthermore, Evan elaborates on his pioneering efforts with StoneAI, his company dedicated to advancing AI-driven cinematic systems, including premium reenactments for true crime and historical content. This conversation provides essential insights for enthusiasts of documentary exploration and emerging filmmakers alike. Listen to gain a deeper understanding of the craftsmanship that renders these productions compelling.Support the show

This week on The Temple of Surf Podcast, we sit down with Vincent Kardasik, a director, cinematographer, and visual storyteller whose work bridges the worlds of surf culture, film, and ocean-driven narratives. Vincent is known not only for capturing powerful surf imagery, but for directing and crafting moving stories that go far beyond a single frame. Through film, cinematography, and photography, he explores the emotional depth of surfing, the patience, the tension, the silence, and the moments of release that define life in and around the ocean. In this episode, Vincent shares his creative journey and how his passion for the sea led him naturally toward directing and cinematography. We talk about the transition from still photography to motion, what changes when you begin telling stories through sequences rather than single images, and how timing, light, and perspective remain essential no matter the medium. The conversation dives deep into the art of surf filmmaking, from pre-visualizing shots and working with surfers in dynamic environments to navigating heavy conditions, unpredictable weather, and the technical challenges of filming in the ocean. Vincent explains how a director's mindset differs from that of a photographer, and why understanding narrative, rhythm, and emotion is just as important as mastering cameras and lenses. We also explore the realities of modern surf media. Vincent reflects on how short-form content, social platforms, and fast consumption have changed the way surf films are created and experienced, and why long-form storytelling still matters. He shares insights on collaboration, creative pressure, and the importance of maintaining artistic integrity while working in a highly competitive visual space. Beyond technique and production, this episode is about vision. Vincent speaks about authenticity, respecting surf culture, and the responsibility that comes with documenting waves, places, and people. We discuss how surf cinematography can influence perception, shaping not only how waves are seen, but how surfing itself is understood. Whether you're a filmmaker, surfer, creative, or simply passionate about visual storytelling and the ocean, this episode offers valuable insight into the craft of directing surf films and the mindset required to create work that resonates. This is a thoughtful and inspiring conversation with a filmmaker who sees surfing not just as action, but as cinema , shaped by light, movement, patience, and truth. #VincentKardasik, #SurfCinematography, #SurfDirector, #SurfFilms, #TheTempleOfSurfPodcast, #OceanFilmmaking, #SurfPhotography, #VisualStorytelling, #SurfCulture, #ActionSportsFilm, #CinematographerLife, #BehindTheLens, #OceanStories

In this episode, host Charles Haine sits down with cinematographer Oren Soffer to dive deep into the groundbreaking and much-discussed visual style of The Creator. As the co-DP alongside Greig Fraser, Soffer shares how they achieved the film's unique aesthetic using a prosumer Sony FX3 camera, a single vintage lens, and a minimalist, indie-inspired production model. This discussion covers everything from lighting choices and VFX collaboration to gear workflows and lens testing, offering an in-depth look at how one of the year's most visually striking sci-fi films was crafted. In this episode, No Film School's Charles Haine and guest Oren Soffer discuss... How Oren Soffer became co-DP on The Creator alongside Greig Fraser The decision to shoot 95% of the film on one vintage 75mm Kowa anamorphic lens Using the Sony FX3 with an Atomos Ninja for ProRes RAW capture The benefits of designing visual effects around photography rather than the reverse Lighting choices inspired by naturalism and a small-footprint, indie ethos The influence of films like Baraka and Rogue One on the visual approach Operating with a nimble crew and custom-built gimbal rigs Remote collaboration between Soffer, Fraser, and director Gareth Edwards The impact of location shooting across Southeast Asia Memorable Quotes: "We shot 95 percent of the movie on a single focal length, which is the Kowa Cine Prominar... you're baking the look into the image." "The way to make visual effects feel more real is to let the photography lead." "We wanted to shoot this big movie as if it's this tiny road movie." "It was an indie film with a 90-day shoot schedule and a full stunt team... but the filmmaking process itself felt really scrappy in the best way possible." Guest: Oren Soffer Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram

We continue our Luc Besson retrospective with Léon: The Professional (1994), a film that turned a hitman into a pop-culture archetype and remains one of the most debated thrillers of the 1990s. Host John Mills is joined by Darren Moser to dig into Besson's precise visual control, Éric Serra's melancholic score, Thierry Arbogast's stylized cinematography, and the film's complicated emotional core.

This week, we discuss the intense World War II spy thriller, Five Graves to Cairo, set in the desolate landscape of North Africa during the height of the desert campaign.SPOILER ALERT We will be talking about this movie in its entirety, including the details of the central German operation. If you plan on watching it, we strongly suggest you do so before listening to our takes.A Paramount Pictures production. Released on May 13, 1943. Directed by Billy Wilder. Screenplay by Charles Brackett and Billy Wilder, based on the play Hotel Imperial by Lajos Biro. Starring Franchot Tone, Anne Baxter, Akim Tamiroff, and Erich von Stroheim (as Field Marshal Rommel). Cinematography by John F. Seitz. Edited by Doane Harrison. Music by Miklós Rózsa.

We breakdown the snubs & surprises from the 98th Oscar Shortlists in all the feature film categories including Best International Feature, Documentary, Score, Song, Makeup and Hairstyling, Sound, VFX, Cinematography and Casting. Which films had the best day? Which struggled? Which held serve?? International Feature - 2:19 Documentary Feature - 6:54 Original Score - 12:40 Original Song - 15:40 Makeup and Hairstyling - 18:39 Sound - 23:16 Visual Effects - 24:35 Cinematography - 27:03 Casting & then we close with the Tallies - 28:53 OUTRO: We discuss the Spielberg movie - Disclosure Day trailer a bit during the Outro, and we mention a few potential upcoming episodes. So if you enjoy our work, please support our show by liking, subscribing, rating, reviewing and by telling people about our show. We appreciate it. https://linktr.ee/mikemikeandoscar

Oscar pre-season is in full swing and nothing says that more than the annual Oscar shortlists, which expand to 12 categories this year, adding Casting and Cinematography. On episode 320 of the AwardsWatch podcast, Editor-In-Chief Erik Anderson is joined by Executive Editor Ryan McQuade and Associate Editor Sophia Ciminello break down the morning's shortlist announcement, discussing what surprised, what was snubbed and how it impacts the Oscar races overall. 12 categories for the 98th Academy Awards were announced this morning: Animated Short Film, Casting, Cinematography, Documentary Feature Film, Documentary Short Film, International Feature Film, Live Action Short Film, Makeup and Hairstyling, Music (Original Score), Music (Original Song), Sound and Visual Effects. Leading the way with eight mentions apiece were Sinners and Wicked: For Good. Both films made the cut in the exact same categories: Casting, Cinematography, Makeup and Hairstyling, Score, two in Song, Sound and Visual Effects. Frankenstein came in with six: Casting, Cinematography, Makeup, Score, Sound and Visual Effects. Up next, with five mentions apiece were F1 and One Battle After Another but possibly one of the day's biggest surprises was the huge showing for Spain's Oscar entry and Cannes Grand Prize winner Sirāt. Also earning five spots on the shortlist, it showed up in International Feature, Sound and Score as was relatively easy to predict, but also in Casting and Cinematography. The Academy added two new shortlists this year. Well, one new one and one returning after several decades. The much-anticipated new Casting category that debuts this season brought contenders like The Secret Agent, Sentimental Value and Weapons but shockingly didn't have room for Wake Up Dead Man, the third in the Knives Out trilogy packed with a hearty ensemble. Cinematography is back on the menu after a 46-year absence with finalists that included the major players like Sinners, One Battle After Another and Hamnet but also Ballad of a Small Player, Die My Love, Nouvelle Vague and Song Sung Blue to the table. We focus a good deal of time on these new categories but also look to how sound and film editing are often in sync, if this means Wicked: For Good is back, if Hamnet might be in trouble, what the hell is Veni Verdi and much more. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music, YouTube and more. This podcast runs 1h1m. We will be back in next week for a review of the last big film of the year, Avatar: Fire and Ash. Till then, let's get into it. Music: "Modern Fashion" from AShamaleuvmusic (intro), "B-3" from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

In this episode, we welcome Ty Evans. Ty is a professional filmmaker with experiences shooting, producing and directing a variety of content. His career stems from cutting-edge skateboarding videos in the 1990's on through next-level aerial filmmaking today. In our chat, he shares his origin story, how he learned his craft, evolved his skill-sets, and embraced new technologies. Ty also offers practical insights for students and emerging creatives on working towards your dreams.“The Making Of” is presented by AJA:ICYMI: AJA's biggest product releases in 2025From multi-channel HD and 4K/UltraHD IP video solutions, to Mini-Converters for bridging between resolutions, connectivity types, protocols, and codecs, a Mini-Converter frame, and a high-capacity 12G-SDI router, AJA announced several new products in 2025 that address emerging workflow needs across broadcast, production, post, and proAV.Get the full rundown hereVFX Supervisor Dennis Berardi on The Making of “Frankenstein”: Shoot. Store. Secure. Smile.The OWC Guardian is a bus‑powered, portable NVMe SSD featuring 256‑bit AES OPAL hardware encryption and a color touch‑screen for intuitive, secure access. With up to 1,000 MB/s real‑world transfer speeds, platform‑agnostic operation (Mac, PC, iPad Pro), and a rugged anodized aluminum enclosure, it's built to protect audit‑sensitive media and projects anytime, anywhere.Learn more hereZEISS Holiday Special:Save 25% on ZEISS Nano PrimesThere's a whole world of exceptional moments to be captured out there. Make sure you are prepared and save big during the ZEISS Holiday event! Save up to $6,400 off the list price on select ZEISS Nano Prime lenses.Check out the Nano Primes hereMeet Stream Deck Studio:Meet Stream Deck Studio, the ultimate control surface designed for professional broadcast and live production environments. Built on the iconic Elgato hardware and powered by Bitfocus software, it offers a hyper-customizable experience that simplifies even the most complex workflows. With compatibility across hundreds of devices from the industry's top vendors, Stream Deck Studio gives you complete command over your production setup, making it easier than ever to create seamless, high-quality broadcasts. Call Videoguys at 800-323-2325 to learn more and take your production control to the next level today!Explore herePodcast Rewind:Dec. 2025 - Ep. 108…Consider advertising in “The Making Of” to reach 250K film, TV, broadcast and video industry professionals each week. For more info, please email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Go watch "Get up try again" here: https://youtu.be/4ho6585isjY?si=Wp_Skc0uOigmPCc8Follow Matt on instagram: https://www.instagram.com/mattaitia/

The stranger The Chair Company gets, the more seriously it has to be treated. Nothing about the show tells the audience when to laugh — its world looks ordinary, its people feel real, and that restraint is exactly what lets the absurdity land. This week on Below the Line, Skid is joined by Costume Designer Nicky Smith and Cinematographer Ashley Connor to discuss their work on The Chair Company, the HBO series created by Tim Robinson and Zach Kanin. Together, they break down how a show rooted in off-kilter comedy relies on rigorous visual logic — from wardrobe and camera movement to pacing, texture, and point of view — to maintain its delicate tonal balance. Our conversation ranges across: Treating the series like a grounded crime or conspiracy drama, using mundane wardrobe and restrained visuals to make moments of surrealism hit harder Ashley's cinematography approach: anchoring the camera to Ron's emotional journey, using aggressive dollies, zooms, and imperfect movement to mirror his unraveling Nicky's costume philosophy of thrifted, worn-in clothing — washing, distressing, and avoiding “newness” so characters feel unmistakably real Designing visual normalcy as misdirection, allowing sudden tonal shifts to surprise the audience without breaking the world of the show The evolving production scale from pilot to series, and how departments learned to stretch limited resources into something that feels expansive Building key sequences like the Episode Five bar chase and the Episode Eight wedding — where every department had to stay in sync to manage the chaos How casting, body types, and costume choices avoid stereotypes, creating a workplace and social world that feels genuinely lived-in Setting up Season Two without knowing the destination — trusting Tim Robinson and Zach Kanin's writing while embracing uncertainty Rather than signaling comedy through exaggeration, The Chair Company finds its power in restraint — proving that the stranger a story becomes, the more important it is that every visual choice feels honest, deliberate, and grounded in character.

Oscar-Nominated Filmmaker Pen Densham on Writing, Cinematography, Photography, Creativity and the Freedom of Breaking the Rules There's a particular kind of magic that happens when a storyteller stops trying to please the market and starts listening to their soul. Pen Densham knows this better than most—he's lived it across three different mediums, each time learning to let go a little more. Densham's creative journey spans decades and disciplines: from screenwriting to cinematography to, now, impressionist photography. When I sat down with him for Audio Signals Podcast, we didn't dwell on credits or awards. We talked about the vulnerability of creativity, the courage it takes to break the rules, and the freedom that comes when you stop asking for permission. "Those scripts that I wrote out of passion, even though they didn't seem necessary to fit the market, got made more frequently than the ones I wrote when I was architecting to hit goals for a studio," Densham told me. It's a paradox he's discovered over and over: the work born from genuine emotional need resonates in ways that calculated formulas never can. His thinking has been shaped by extraordinary influences. He studied with Marshall McLuhan, who opened his eyes to the biology of storytelling—how audiences enter a trance state, mirroring the characters on screen, processing strategies through their neurons. He found resonance in Joseph Campbell's work on myth. "We're the shamans of our age," Densham reflects. "We're trying to interpret society in ways that people can learn and change." But what struck me most was how Densham, after mastering the craft of writing and the machinery of cinematography, has circled back to the simplest tool: a camera. Not to capture perfect images, but to create what he calls "visual music." He moves his camera deliberately during long exposures. He shoots koi through blinding sunlight. He photographs waves at dusk until they fragment into impressionistic dances of light and motion. "The biggest effort was letting go of self-criticism," he admitted. "Thinking 'this is stupid, these aren't real photographs.' But I'm making images that blow my mind." This is the thread that runs through Densham's entire creative life: the willingness to unlearn. In writing, he learned to trust his instincts over studio formulas. In cinematography, he learned that visual storytelling could carry emotional weight beyond dialogue. And now, in photography, he's learned that breaking every rule he ever absorbed—holding the camera still, getting the exposure right, capturing a "correct" image—has unlocked something entirely new. There's a lesson here for anyone who creates. We absorb rules unconsciously—what a proper screenplay looks like, how a film should be shot, what makes a "real" photograph. And sometimes those rules serve us. But sometimes they become cages. Densham's journey is proof that the most profound creative freedom comes not from mastering the rules, but from having the courage to abandon them. "I'm not smarter than anybody else," he said. "But like Einstein said, I stay at things longer." We left the door open for more—AI, the creator economy, the future of storytelling. But for now, there's something powerful in Densham's path across writing, cinematography, and photography: a reminder that creativity is not a destination but a continuous act of letting go.Stay tuned. Subscribe. And remember—we are all made of stories. Learn more about Pen Densham: https://pendenshamphotography.comLearn more about my work and podcasts at marcociappelli.com and audiosignalspodcast.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode of Houselights, we begin our retrospective of Luc Besson's work from the 90s with "La Femme Nikita." We examine the film's stylistic impact and its role in reshaping the action-thriller genre. While the movie serves as a genre blueprint, we also touch on its narrative inconsistencies and character development challenges. Join us as we explore the film's influence and its place in cinematic history.

Legendary filmmaker Darren Aronofsky and cinematographer Matthew Libatique, ASC, LPS, join us to reflect on their three decades of creative partnership: from “Pi,” “Requiem for a Dream,” “Black Swan,” and “The Whale,” to their newest collaboration, “Caught Stealing.” In this wide-ranging conversation, they discuss the evolution of their visual language, how technology continues to reshape the craft, and the inspirations behind the kinetic, East-Village-in-the-'90s aesthetic of “Caught Stealing.” And as the industry stands on the brink of profound transformation, Aronofsky shares why he believes the future is full of opportunities for new kinds of innovative storytelling. “I think how we make films is about to change more than any other time in history. And there's many ways that can go, many possibilities. So I think for storytellers, it's really exciting because there's a lot of discovery ahead of us. There's the potential for lots of very specific, individual types of films. But I think there's an absolute need for storytellers to be inventive and to be looking forward.” —Darren Aronofsky, Director and Producer, “Caught Stealing” Be sure to check out “Caught Stealing,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on YouTube. Learn more about Sundance Collab here. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Oscar-Nominated Filmmaker Pen Densham on Writing, Cinematography, Photography, Creativity and the Freedom of Breaking the Rules There's a particular kind of magic that happens when a storyteller stops trying to please the market and starts listening to their soul. Pen Densham knows this better than most—he's lived it across three different mediums, each time learning to let go a little more. Densham's creative journey spans decades and disciplines: from screenwriting to cinematography to, now, impressionist photography. When I sat down with him for Audio Signals Podcast, we didn't dwell on credits or awards. We talked about the vulnerability of creativity, the courage it takes to break the rules, and the freedom that comes when you stop asking for permission. "Those scripts that I wrote out of passion, even though they didn't seem necessary to fit the market, got made more frequently than the ones I wrote when I was architecting to hit goals for a studio," Densham told me. It's a paradox he's discovered over and over: the work born from genuine emotional need resonates in ways that calculated formulas never can. His thinking has been shaped by extraordinary influences. He studied with Marshall McLuhan, who opened his eyes to the biology of storytelling—how audiences enter a trance state, mirroring the characters on screen, processing strategies through their neurons. He found resonance in Joseph Campbell's work on myth. "We're the shamans of our age," Densham reflects. "We're trying to interpret society in ways that people can learn and change." But what struck me most was how Densham, after mastering the craft of writing and the machinery of cinematography, has circled back to the simplest tool: a camera. Not to capture perfect images, but to create what he calls "visual music." He moves his camera deliberately during long exposures. He shoots koi through blinding sunlight. He photographs waves at dusk until they fragment into impressionistic dances of light and motion. "The biggest effort was letting go of self-criticism," he admitted. "Thinking 'this is stupid, these aren't real photographs.' But I'm making images that blow my mind." This is the thread that runs through Densham's entire creative life: the willingness to unlearn. In writing, he learned to trust his instincts over studio formulas. In cinematography, he learned that visual storytelling could carry emotional weight beyond dialogue. And now, in photography, he's learned that breaking every rule he ever absorbed—holding the camera still, getting the exposure right, capturing a "correct" image—has unlocked something entirely new. There's a lesson here for anyone who creates. We absorb rules unconsciously—what a proper screenplay looks like, how a film should be shot, what makes a "real" photograph. And sometimes those rules serve us. But sometimes they become cages. Densham's journey is proof that the most profound creative freedom comes not from mastering the rules, but from having the courage to abandon them. "I'm not smarter than anybody else," he said. "But like Einstein said, I stay at things longer." We left the door open for more—AI, the creator economy, the future of storytelling. But for now, there's something powerful in Densham's path across writing, cinematography, and photography: a reminder that creativity is not a destination but a continuous act of letting go.Stay tuned. Subscribe. And remember—we are all made of stories. Learn more about Pen Densham: https://pendenshamphotography.comLearn more about my work and podcasts at marcociappelli.com and audiosignalspodcast.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Step behind the camera with Mia Cioffi Henry, a visionary cinematographer and filmmaker whose work explores the art of visual storytelling with depth, emotion, and purpose. In this episode, Mia shares her journey through the world of independent cinema, her creative process on set, and how she uses light, movement, and perspective to bring powerful stories to life. Discover insights on cinematography, directing, collaboration, visual language, and the future of filmmaking — straight from one of today's most thoughtful visual artists. Whether you're a filmmaker, creative professional, film student, or movie lover, this conversation will inspire you to see storytelling in a new light.

Step behind the camera with Mia Cioffi Henry, a visionary cinematographer and filmmaker whose work explores the art of visual storytelling with depth, emotion, and purpose. In this episode, Mia shares her journey through the world of independent cinema, her creative process on set, and how she uses light, movement, and perspective to bring powerful stories to life. Discover insights on cinematography, directing, collaboration, visual language, and the future of filmmaking — straight from one of today's most thoughtful visual artists. Whether you're a filmmaker, creative professional, film student, or movie lover, this conversation will inspire you to see storytelling in a new light.

We carve up Tarantino’s “Inglorious Basterds” and discuss: Review at 17:00 Cinematography, camera movement, the Bob Richardson special; Story & Writing, conflict through character wants; and other such stuff and things and stuff. “Joan of Arc: “You say that you are my judge; I do not know if you are; but take good heed not […] The post Ep 349: “Inglorious Basterds” appeared first on The Pestle.

While attending the 38th Tokyo International Film Festival, Ben was able to interview director Pen-Ek Ratanaruang and lead actress Bella Boonsang for their film Morte Cucina.Morte Cucina follows Sao as she takes an unconventional path toward revenge against a man who has wronged her.Listen in to hear about Ratanaruang's candid thoughts on his approach to filmmaking, Boonsang's initial trepidation and determination to tackling this tricky role, and Ratanaruang's evolving working relationship with the film's DP, Christopher Doyle (their third feature film collaboration!).Special thanks to the TIFF team for arranging the interview!Get revenge at our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00 Intro02:22 Inspiration for the film04:30 Bella's reaction to the script06:23 Casting Bella Boonsang09:45 Cinematography with Chris Doyle13:15 The movie is made on set17:30 What is love?22:17 Outro

In this episode, we walk slowly but carefully into Kathryn Bigelow's Oscar-winning film, "The Hurt Locker." We explore the film's gripping portrayal of the Iraq War, its intense cinematography, and the nuanced performances by Jeremy Renner and Anthony Mackie. With a mix of admiration and critique, we discuss the film's lasting impact and its place in cinematic history. Whether you're a fan of war dramas or just curious about what makes this film a standout, this episode offers a thoughtful analysis that will leave you with a new appreciation for Bigelow's work.

This week, we discuss the screwball comedy, The Major and the Minor, the first American film directed by legendary filmmaker Billy Wilder.SPOILER ALERT We will be talking about this movie in its entirety, including the central masquerade and the romantic tension it creates. If you plan on watching it, we strongly suggest you do so before listening to our takes.A Paramount Pictures production. Released on September 16, 1942. Directed by Billy Wilder. Screenplay by Charles Brackett and Billy Wilder, based on the play Connie Goes Home by Edward Childs Carpenter. Starring Ginger Rogers and Ray Milland. Cinematography by Leo Tover. Edited by Doane Harrison. Music by Robert Emmett Dolan.

Legendary filmmaker Guillermo del Toro and cinematographer Dan Laustsen, ASC, DFF, join us to break down the striking visual language of “Frankenstein,” their latest feature collaboration after decades of working together. In this conversation, they explore everything from their use of large-format cameras and “painterly” light to the symbolic color design that shapes the emotional arc of the film. Theirs is a visual process that begins with ideas, not rigid storyboards, so the filmmaking can stay alive and collaborative.“Obviously, we storyboard. But storyboards should only be useful in to breaking down the elements. I never say, ‘it has to be this shot, it has to be this element… medium shot, blah, blah, blah.' Storyboards are taxidermy. And I want it to be alive. I want the animal to be alive… From that on, it's a collaboration. If I can put the fundamental touchstones of the film in place, then everybody can play. Then we can be flexible.”—Guillermo del Toro, Director, Writer, and Producer, “Frankenstein”Be sure to check out “Frankenstein,” now streaming on Netflix — in Dolby Vision® and Dolby Atmos® — and in select theaters.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode on YouTube.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Steven Bernstein sits with John Williams, Heather Kofka, and Christopher Shea for a luminous, craft-first conversation on the art of filmmaking. Bernstein traces his path from cinematography to the director's chair, reflecting on Monster, Last Call, Decoding Annie Parker, White Chicks, Half Baked, SWAT, and Blade, and why the most enduring work begins with human chemistry.They unpack the family that forms on set, the ache of wrap day, and how to protect performance when time and money press in. Bernstein explains why intuition often beats orthodoxy, how executives chase safety while art asks for risk, and why story should serve character, not the other way around. He shares practical tools for actors and directors, from freeing marks and lighting to invite truth, to building backstory that unlocks authentic choices.The table dives into post control, color grading, and the quiet power of tone, then pivots to Bernstein's novel GRQ and its meta leap to the screen. It is a talk about collaboration, presence, courage, and the strange alchemy that turns effort into feeling. If you love the work behind the work, this one is a masterclass that hums with lived experience.Keywords: Steven Bernstein, filmmaking, cinematography, directing, acting craft, color grading, creative process, indie film, Monster, Last Call, Decoding Annie Parker, GRQ, John Williams, Heather Kofka, Christopher Shea, In the Room

Sentimental Value should contend for big nominations at the Golden Globes, Critics Choice Awards and many upcoming precursors as well as major Oscar Nominations, and we have to study it in this loaded film study Oscars Profile review show. NON-SPOILER REVIEW OF SENTIMENTAL VALUE: Reception Thus Far. Critical, Audience & Box Office - 2:55 Our Theater-Going Experience - 4:50 The Awards Profile Thus Far + Golden Globes Predictions - 7:58 Enjoying the film much more on 2nd viewing, more so than at the festivals - 11:04 A Huge Stellan Skarsgard Discussion and a Dissection of Supporting Actor - 13:23 Having Fun with a Film about Filmmakers - 22:41 Trier makes personal films hiding behind fictions, much like Gustav in this story - 25:10 Renate Reinsve and THREE! Tremendous Supporting Actress Performances - 27:32 Review of the Production Values including praise for the Score & Cinematography - 32:21 Our Oscar Nom Predictions, a Lead Actress Breakdown & Over/Under - 35:23 SPOILER WARNING - 40:39 SPOILER SECTION FOR SENTIMENTAL VALUE: Two Big Nitpicks - 41:29 Big Performance Moments for Renate Reinsve - 45:00 Inga Ibsdotter Lilleaas Big Performance Takeaways - 49:33 Stellan Skarsgard's Gustav Motivations & Performance Takes - 55:03 The Themes Played Out in the Ending - 1:03:43 How A Worst Scene Becomes A Best Scene on Rethink - 1:08:06 Final Grades - 1:11:01 OUTRO: We have more Oscar Race Checkpoints and Oscar Profile film studies coming soon, maybe, kinda, sorta… or not. We won't say. But thank you as always for listening. Please follow us on social media and rate/review our show to pledge your support. And thanks again for doing that as well. https://linktr.ee/mikemikeandoscar

This is our spoiler-free review for Wake Up Dead Man, the latest entry in Rian Johnson's Knives Out series. We break down the film's striking gothic look and feel — from Steve Yedlin's atmospheric cinematography to the way light shapes the story — and talk through the performances, including Daniel Craig's ever-magnetic return as Benoit Blanc.We also get into how the film's familiar narrative structure affects the mystery this time around, why the ensemble's character dynamics feel looser, and how the story doesn't quite hit the same heights as the original. Finally, we share our overall thoughts and ratings, celebrating what the movie gets right while digging into where it falls short and what this franchise needs to evolve moving forward.Catch Wake Up Dead Man: A Knives Out Mystery in select theatres starting November 26, and stream it globally on Netflix December 12. Check out Geekcentric onYouTube | Instagram | Twitter | TikTokJoin the Geekcentric Discord HEREFollow Eatcentric - Same geeks. New Eats

We stir Tom Cruise’s “Cocktail” and discuss: Cinematography, wide angles, edge light; Story & Writing, money, whiplash; and other such stuff and things and stuff. “Remember that failure is an event, not a person“ – Zig Ziglar Notes & References: Supports us on our Patreon here! Peaky Blinders scene “What line am I supposed to […] The post Ep 348: “Cocktail” appeared first on The Pestle.

Director Jon M. Chu and Director of Photography Alice Brooks join us to discuss the dazzling cinematography of “Wicked” and its newly released sequel, “Wicked: For Good.” Though the two films together tell a single story — adapted from the beloved Broadway musical — each was crafted with a distinct visual style to reflect the evolving tone and emotion of its chapter in the tale of the Wicked Witch of the West. “When Jon and I first started talking about the movies, we talked about emotional intentions. And some of those emotional intentions for the first movie were ‘dreams' and ‘yearning' and ‘friendship' and ‘choice.' And the second movie, they were ‘separation' and ‘sacrifice' and ‘surrender' and ‘consequence.' And so quickly in our conversations it became clear that the first movie would glow in daylight, and the second movie would be steeped in density and maturity and shadow. And so we have these two worlds. We've got the whole visual arc of both movies, but each lived in their own distinct worlds.”—Alice Brooks, Director of Photography, “Wicked” and “Wicked: For Good” Be sure to check out “Wicked: For Good,” now playing in theaters and Dolby Cinemas®, in Dolby Vision® and Dolby Atmos®. - Our previous episodes of Dolby Creator Lab with the artists behind Wicked: Director Jon M. Chu and the Sound and Editing Wizards of Wicked The Music of Wicked, with Stephen Oremus, John Powell, and Stephen Schwartz Capturing Wicked's Live Singing, with Simon Hayes Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on YouTube. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

This week, we discuss the road rage thriller that launched Steven Spielberg's career, Duel.SPOILER ALERT We will be talking about this movie in its entirety, so if you plan on watching it, we strongly suggest you do so before listening to our takes.An ABC Movie of the Week, produced by Universal Television. Aired on November 13, 1971 (US TV) and later released theatrically internationally. Directed by Steven Spielberg (his feature-length debut). Screenplay by Richard Matheson, based on his own short story. Starring Dennis Weaver (David Mann). Cinematography by Jack A. Marta. Music by Billy Goldenberg.

Step into the world of independent cinema with filmmaker Andrew Huggins, the creative force behind Sage Night Cinematics. From his early short films to award-winning festival features, Huggins opens up about his artistic process, visual storytelling, and the emotional core that drives his work. This in-depth conversation explores the grit, grind, and glory of filmmaking — from indie beginnings to mastering cinematic craft. Whether you're a filmmaker, storyteller, or fan of authentic, character-driven cinema, this interview gives you a front-row seat to the art and soul of modern independent film.

We clean Natalie Portman’s “The Professional” and discuss: Cinematography, widescreen; Story & Writing, Leon, the final battle; and other such stuff and things and stuff. “Before you embark on a journey of revenge, dig two graves.“ – Confucius Notes & References: Supports us on our Patreon here! Watch us on YouTube! This Week’s Recommendations: “The […] The post Ep 347: “The Professional” (1994) appeared first on The Pestle.

This week on Tipsy Casting! We are so thrilled to have a FIRST on the show as we welcome the extremely talented cinematographer, Ed Wu to the podcast! Ed is a man of many talents including being a classically-trained Violinist, Ultimate Frisbee Athlete and most importantly a cat lover! Ed was recognized as one of the Rising Stars of Cinematography in the February 2017 issue of American Cinematographer. In 2016, he was selected to be a part of Variety's Below-the-Line Impact Report - Up Next Category. Ed transplanted to Los Angeles from Long Island, NY in search of uncovering and learning the magic behind visual storytelling. To refine his craft, Ed was accepted to study at the prestigious American Film Institute, receiving an MFA in cinematography. Through his experiences as a cinematographer and wanderer of the world, he's seen the power of an image and constantly continues to search for the perfect frame to tell the story. He is extremely knowledgeable and I was able to see that first hand on the films we have worked on together like LINOLEUM and SLEGHT. His other recent credits include MOTHER OF THE BRIDE, PONYBOI and LOST ODYSSEY: SHADOWS OF DESTINY to name a few. In this episode we discuss...How he went from being a violinist/sports guy to learning the cinematography wold and wanting to train up in it. He breaks down all the terminology of the roles within the camera and lighting departments so we can best understand each role. We dive into the many different ways to go about gaining experience and climbing the preverbal ladder. He breaks down 2 of his favorite scenes from the film LINOLEUM and how they pulled off these not only amazing shots of dropping a car but also the emotional breakdown of scenes and the challenges. We discuss how being the head of department has its advantages but also disadvantages in running the crew and how the intimate relationship with the director really comes into play. How he approaches working with actors in such a close environment from the day they meet to the evolution throughout the shoot.He gives his tips to actors on how to best be an actor's DP and help him help you look your best on screen!And lastly any particular genres or types of films that are on his manifesting list to be a part of Make sure you are subscribed to Tipsy Casting on all platforms as well as rate and review the podcast!!!Resources: ⁠⁠⁠⁠⁠Ed's WebsiteEd's IMDBEd's Instagram──────────────────────────⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Learn More About ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Casting Journeys 

Step behind the camera with Ellen Kuras, the award-winning director and cinematographer whose visual storytelling has defined a generation of modern cinema. From her groundbreaking cinematography in Eternal Sunshine of the Spotless Mind (2004) to her powerful directorial work in Lee (2024), Ellen has redefined what it means to tell stories through light, emotion, and movement. In this in-depth conversation, Ellen shares her creative process, challenges as one of the first women in major cinematography, and her approach to capturing the soul of a story on screen. Whether you're a filmmaker, cinephile, or curious creative, this episode delivers rare insights into the craft, collaboration, and courage that fuel visual storytelling.

Step behind the camera with Ellen Kuras, the award-winning director and cinematographer whose visual storytelling has defined a generation of modern cinema. From her groundbreaking cinematography in Eternal Sunshine of the Spotless Mind (2004) to her powerful directorial work in Lee (2024), Ellen has redefined what it means to tell stories through light, emotion, and movement. In this in-depth conversation, Ellen shares her creative process, challenges as one of the first women in major cinematography, and her approach to capturing the soul of a story on screen. Whether you're a filmmaker, cinephile, or curious creative, this episode delivers rare insights into the craft, collaboration, and courage that fuel visual storytelling.

We hunt Elle Fanning’s “Predator: Badlands” and discuss: Screenwriting, methods to start a script 0:00-18:53; Cinematography, creating a visual look; Story & Writing, revealing character through actions, theme, weapons; and other such stuff and things and stuff. “Sometimes I write drunk and revise sober.“ – Peter De Vries, from “Reuben, Reuben” Notes & References: Supports […] The post Ep 346: “Predator: Badlands” appeared first on The Pestle.

In this episode, we welcome cinematographer Kira Kelly, ASC. Kira has shot projects including Him, 13th, “The Red Line,” “Queen Sugar,” and Rez Ball. In our chat, she shares about her formative years, filmmaking education, and work on the new Jordan Peele-produced movie, Him. Kira also offers extensive cinematography insights and practical advice for emerging filmmakers and industry pros everywhere.“The Making Of” is presented by AJA:UDC-4K: More than just an average 12G-SDI and HDMI up/down/cross converterAJA's newest Mini-Converter boasts powerful 12G-SDI and HDMI 2.0 I/O, 4K/UltraHD/2K/HD scaling, frame sync, frame rate conversion, and more. Unlocking an expansive range of conversion possibilities, UDC-4K enables teams to get disparate sources into a common format and timing reference. Explore how UDC-4K solves some of the most common production and post challenges.Shoot. Store. Secure. Smile.The OWC Guardian is a bus‑powered, portable NVMe SSD featuring 256‑bit AES OPAL hardware encryption and a color touch‑screen for intuitive, secure access. With up to 1,000 MB/s real‑world transfer speeds, platform‑agnostic operation (Mac, PC, iPad Pro), and a rugged anodized aluminum enclosure, it's built to protect audit‑sensitive media and projects anytime, anywhere. Learn more hereAmerican Film Market (AFM)Nov. 11-16, 2025 • Los AngelesAFM is the premier film acquisition, development and networking event where more than $1 Billion in distribution and film financing deals are closed each year on completed films and those in every stage of development. More business-oriented than any other motion picture event, thousands of professionals from all corners of our industry come together at AFM to develop, showcase, discover, finance and license 1000s of independent films and projects destined for the world's audiences.Learn more hereWomen in Media — Holiday Toast 2025Dec 6th | 10am – 2pmHotel Sofitel | Beverly Hills, CAJoin Women In Media as we raise a glass to legendary women of the entertainment industry. There will be a champagne brunch, silent auction, panel with honorees, and celebratory toasts by their toastmasters. Holiday Toast 2025 Honorees include Ashley Nicole Black, Writer/Actor (Shrinking, Ted Lasso, A Black Lady Sketch Show), Toastmaster Chelsea Devantez, Comedian, Writer (The Problem with John Stewart, Girls5Eva), Krystina Figg, Best Boy Grip, Grip (Superman, Killers of the Flower Moon, Dunkirk), and Mandy Walker, AM, ACS, ASC, Director of Photography (Elvis, Hidden Figures, Mulan), President of the American Society of Cinematographers.Get tickets and tables hereMeet Stream Deck Studio:Meet Stream Deck Studio, the ultimate control surface designed for professional broadcast and live production environments. Built on the iconic Elgato hardware and powered by Bitfocus software, it offers a hyper-customizable experience that simplifies even the most complex workflows. With compatibility across hundreds of devices from the industry's top vendors, Stream Deck Studio gives you complete command over your production setup, making it easier than ever to create seamless, high-quality broadcasts. Call Videoguys at 800-323-2325 to learn more and take your production control to the next level today! Explore herePodcast Rewind:Nov. 2025 - Ep. 102…Advertise in “The Making Of” and reach 250K filmmakers, TV production pros, and content creators each week. For more info, email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

SEASON 2 - EPISODE 166 - Reflections: On Cinematography - written by Roger Deakins In this special "Turning the Tables" episode of the Team Deakins Podcast, cinematographer Roberto Schaefer (Season 1, Episode 162) returns to lead us in a conversation about Roger's new memoir, Reflections: On Cinematography. In the book, Roger tells the story of his life from his childhood in rural, seaside England to the present day, and he reveals the reasoning behind many of the creative and practical decisions of numerous projects, from his early documentary work and music videos to films such as 1984, NO COUNTRY FOR OLD MEN, and 1917. In our conversation with Roberto, he asks why Roger decided to write it in the first place, and Roger shares what his ultimate intent was when putting it together. Reflections also features unseen photographs, sketches, and diagrams from Roger's personal archive, and he reflects on the process of picking and choosing which memories and films to write about. This episode will offer a small sample of what to expect in the full book, so if you like what you hear, you can place a pre-order after listening. Reflections: On Cinematography will be available on November 11, 2025 in the United States and Canada, and it will later be available in the UK on February 12, 2026. Pre-order information can be found at this link. Books ordered through the ASC store will be shipped globally while supplies last. - This episode is sponsored by Sandstorm & Aputure

We press “REC” and discuss: Subtitles vs dubbing; Cinematography, lighting, camerawork; Story & Writing, runtime, immersion, themes; and other such stuff and things and stuff. “People say you never remember anybody who dies in movies, and it’s true, you don’t. You don’t even remember people who disappear.“ – Danny Boyle Notes & References: Supports us […] The post Ep 345: “REC” appeared first on The Pestle.

Episode: 3244 Bias and Diversity in Photography and Face Recognition Software.  Today, bodies, in beautiful black and white.

We shred Jeremy Saulnier’s “Green Room” and discuss: Cinematography, lighting, salt & pepper; Story & Writing, moments of tension, pockets of action, grounding us, theme; and other such stuff and things and stuff. “I imagine one of the reasons people cling to their hates so stubbornly is because they sense, once hate is gone, they […] The post Ep 344: “Green Room” appeared first on The Pestle.

Send us a textIt's time to check into one of the deadliest games of cat and mouse as the hosts continue their annual spooktacular season with the sleeper hit psychological thriller, Strange Darling, starring Willa Fitzgerald, Kyle Gallner, written and directed by JT Mollner. The film was shot on 35 mm film, and marked the cinematographic debut of Giovanni Ribisi. In this episode the hosts delve into the six chapters of the film, the quality of cinematography and incredible performances from the both lead actors. The hosts pair the film with the Vodka Shot Cocktail. So join the hosts on this thrilling electric ride and praise this genre bending horror film.Come listen and follow the hosts on their Instagram and YouTube channel @the.gentlemenpodcast

Welcome to the Visual Intonation Podcast, where storytelling and creative expression collide. Hosted by Pascale Williams, this podcast explores the intersectionality of culture, identity, and the art of communication. With a passion for embracing diverse voices and perspectives, Pascale shares her experiences and insights, offering listeners a unique lens through which to understand the world. Her work—shaped by a multicultural upbringing—reminds us that storytelling is not just a tool, but a responsibility, one that holds the power to foster connection and inspire change.Each episode of Visual Intonation invites guests from a variety of artistic fields to discuss how they use their craft to tell stories that matter. Whether you're an artist in the traditional sense or someone who creatively navigates the world in your own way, Pascale's goal is to encourage you to reach your fullest potential without fear of expression. Through candid conversations and thoughtful dialogue, the podcast delves into the human application of creativity—how it influences personal growth, challenges norms, and drives societal shifts.Pascale's commitment to visual storytelling and the power of human creativity is at the heart of every episode. As an accomplished filmmaker and storyteller, her journey took her from multimedia storytelling at Queens University of Charlotte to earning a Master of Cinematography at the American Film Institute. Along the way, she has collaborated with powerful organizations like Crenshaw Skate Club and has worked with up-and-coming brands like Loyd Visuals. Pascale's deep belief in representation is reflected in her projects, such as the film Nour, which explores cultural identity, family, and self-acceptance.In this podcast, expect to hear from artists, filmmakers, creatives, and visionaries who, like Pascale, are committed to telling stories that break boundaries and amplify voices that have long been unheard. Join Pascale Williams on the Visual Intonation Podcast—where art, culture, and storytelling converge to shape the world we live in.Source: InstagramPASCALE R. WILLIAMS (@arty_miss98) - InstagramSource: LinkedInPascale R. Williams - Cinematographer | LinkedInSource: XPascale Williams (@Arty_miss98) / Xhttp://www.arty-miss.com/Support the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

SEASON 2 - EPISODE 164 - 28 YEARS LATER - with Anthony Dod Mantle In this special episode of the Team Deakins Podcast, cinematographer Anthony Dod Mantle (Season 1, Episode 68) returns to discuss his work on 28 YEARS LATER. The film was shot extensively using modified iPhones, and Anthony shares his early conversations with director Danny Boyle about the film's intended rural setting that informed their decision to commit to using the devices. Anthony later explains how he jailbroke the iPhone's camera system with the help of tech advisors and employees at Apple, and we discuss how the limitations of the phone forced Anthony to adjust the amount of light he used while filming. We also learn how the bar cam system actually works, and Anthony details the type of VFX work done throughout the film. We later investigate why the sequel was shot with an Alexa, and Anthony describes the elaborate build of the Bone Temple location featured prominently in both films. - Recommended Viewing: 28 YEARS LATER - This episode is sponsored by Sandstorm & Aputure

Have we seen this movie? Nope! But did we like it? Yup! The Just Play It crew avoid eye contact with a hungry-hungry UAP in this genre morphing horror-western! The ghoulish fool and the spookie dookie take a wild trip to the Burbank Fry's Electronics to check out Jordan Peele's blockbuster movie, Nope. We get into the details of this film that make it so cool. We can't tell what would be scarier, the Star Lasso Experience or missing out on this spooky episode.-Music by these extremely talented artists:"Spooky Swing (Electro Swing Mix)" - Captain Matt & Electro Swing Thing @ElectroSwingThing  "Halloween Theme (Electro Swing Mix)" - Betty Booom​  @bettybooomswing  "Danger" - Odd Chap @OddChap  "Nightmare Cure" - DanyloM & Electro Swing ThingCheck them out at:https://electroswingthing.comhttps://www.youtube.com/@OddChap/featuredhttps://www.youtube.com/@bettybooomswing Thanks for tuning in. For more, follow us on Instagram & YouTube @justplayitpodcast & X (fka Twitter) @justplayitpod

for the full episode join the Patreon [patreon.com/fashiongrunge]I'm back! Yes, it's been a while and there is no more perfect film to return back to my routine than Paris, Texas from 1984.This is my first ever watch and it would be an understatement to say that it's been a long time since cinema has moved me the way this did. I always have seen stills and thought it was from a fashion shoot or a photo spread and to see these images in motion. It had me thinking of my own relationship with photography and how I adore the cinematography of Robby Müller.I get into how I was in the perfect place to absorb this , the overwhelming nature of the scope of the story, a strong third act, and fashion visuals that will stay with me for a while.*recorded August 2024 ---Get BONUS episodes on 90s TV and culture (Freaks & Geeks, My So Called Life, Buffy, 90s culture documentaries, and more...) and to support the show join the  Patreon! Host: Lauren @lauren_melanieFind more Fashion Grunge onLinktreeJoin me on Substack:  The Lo Down: a Fashion Grunge blog/newsletter☕️ Support Fashion Grunge on Buy Me a Coffee: https://www.buymeacoffee.com/fashiongrunge

"It was a headless horseman!" For Episode 379, Brandon and David continue CineNation's series on Folk Horror with a mainstream version of the genre, SLEEPY HOLLOW. Listen as they discuss the history of Washington Irving's original story, how the film was originally going to be a low-budget slasher film, why Tim Burton became involved in the project, why the movie ended up filming in England over the US, how they broke new ground with their creation of the Headless Horseman, how Paramount used an early version of online marketing for the film, and more!  Also, don't forget to join our Patreon for more exclusive movie content:  Opening - One Battle After Another -  (00:00:10) Early Thoughts on Sleepy Hollow (00:08:02) Recap of Folk Horror Movies (00:10:14) Intro to Sleepy Hollow (00:13:52) How Sleepy Hollow Got to Production (00:23:32) Favorite Scenes (00:44:55) On Set Life - (01:09:42) Aftermath: Release and Legacy (01:23:18) What Worked and What Didn't (01:30:40) Film Facts (01:35:15) Awards (01:35:54) Final Questions on the Movie (01:41:50) Wrapping Up the Episode (01:46:45) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast

SEASON 2 - EPISODE 162 - Dante Spinotti - Cinematographer In this episode of the Team Deakins Podcast, we speak with cinematographer Dante Spinotti (ANT-MAN AND THE WASP, HEAT, THE LEGEND OF THE HOLY DRINKER). During our conversation, Dante reflects on his Italian upbringing and on the formative year he spent shooting photographs in Nairobi, Kenya. Dante has also frequently shot films with director Michael Mann, and he shares a number of stories from their years of working together. While best-known for his work in Hollywood, Dante still found time to shoot films in his native country, and we specifically discuss his experiences working with director Ermanno Olmi on THE LEGEND OF THE HOLY DRINKER. Dante has also survived the Marvel movie machine, and he reflects on the changes in technology and filmmakers' approach to filmmaking that he's witnessed over the course of his career. We also discuss his experiences transitioning to using digital cameras, and we reflect on the value of discipline and preparation—no matter your shooting format. - This episode is sponsored by Sandstorm & Aputure

In this episode, hosts Sean and Lexi dive deep into an in-depth review of all three versions of 'Salem's Lot'—1979, 2004, and 2024. They provide a detailed analysis by scoring various aspects such as character portrayal, town design, Stephen King vibes, cinematography, and more. Despite its shortcomings, a particular fondness is held for the 2004 version. Additionally, upcoming events are teased, including a live show at the LA Film School and an interview with James Jude Courtney. Join the hosts as they wrap up Stephen King Month with fascinating insights and dumb banter. 00:00 Introduction and Banter 00:53 Upcoming Live Show Announcement 04:38 Guest Appearances and Collaborations 05:54 Salem's Lot Deep Dive 20:38 Rating the Salem's Lot Adaptations 48:03 Rating the Accents 49:33 Town Design Critique 53:26 The Marston House 55:13 Overall King Vibes 58:10 Acting Performances 01:00:50 Dialogue Analysis 01:02:51 Cinematography and Pacing 01:11:23 Music and Sound 01:26:51 Final Scores and Reflections Learn more about your ad choices. Visit megaphone.fm/adchoices

SEASON 2 - EPISODE 159 - Michael McDonough - Cinematographer We speak with cinematographer Michael McDonough (BOSCH, SUNSET SONG, WINTER'S BONE) in this episode of the Team Deakins Podcast. If you listened to our conversation with Debra Granik (Season 2, Episode 158), then you know a bit about Michael already. He fills in what she left out, and we learn how he came to pursue filmmaking as a career after roaming around Rome on a year-long printmaking scholarship during his time in art college. We further discuss his professional partnership with Debra, and we also trade stories about working with director Michael Radford. In addition to his work in film, Michael has shot long-running television series such as FEAR THE WALKING DEAD and BOSCH, and he shares how he does the best he can given the limitations of working in the format. Michael also reflects on how BOSCH incorporates Los Angeles' rich noir history into the show's look, and we learn what advice he would give his younger self if he were starting out again. Among the other topics discussed in our conversation: lighting lessons learned from observing cinematographer Vilmos Zsigmond and the allure of Venice Beach in the winter. - This episode is sponsored by Aputure & Sandstorm