Podcast appearances and mentions of ed lachman

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

Dana and Tom with returning guest, Ryan Luis Rodriguez (host and creator of One Track Mind podcast, and co-host of Reels of Justice) discuss Erin Brockovich (2000) for its 25th anniversary: directed by Steven Soderbergh, written by Susannah Grant, cinematography by Ed Lachman, music Thomas Newman, starring Julia Robert, Albert Finney, and Aaron Eckhart.Plot Summary: Erin Brockovich is a biographical drama starring Julia Roberts as the titular character, a struggling single mother who stumbles upon a major environmental scandal. Working at a small law firm, Erin discovers that Pacific Gas and Electric (PG&E) has been contaminating the water supply of Hinkley, California, leading to severe health issues for its residents. Despite having no formal legal training, her relentless determination and personal connection to the victims drive her to build a case against the corporation. With her bold personality and refusal to back down, she helps secure a record-breaking $333 million settlement. The film, directed by Steven Soderbergh, is a compelling tale of persistence, justice, and the power of one person to make a difference.Chapters:00:00 Introduction and Welcome to Our Guest01:42 Cast and Background for Erin Brockovich03:26 Relationship(s) with Erin Brockovich07:44 What is Erin Brockovich About?11:12 Why is Law Such a Captivating Film Subject?13:51 Plot Summary for Erin Brockovich14:55 Did You Know?16:32 First Break17:15 What's Up with Ryan Luis Rodriguez21:11 Best Performance(s)30:05 Best/Favorite/Indelible Scene(s)37:10 Second Break37:51 In Memoriam42:37 Best/Funniest Lines44:09 The Stanley Rubric - Legacy49:40 The Stanley Rubric - Impact/Significance52:39 The Stanley Rubric - Novelty55:49 The Stanley Rubric - Classicness59:21 The Stanley Rubric - Rewatchability01:01:55 The Stanley Rubric - Audience Score and Final Total01:03:14 Remaining Questions for Erin Brockovich01:04:39 Thank You to Our Guest01:05:26 Remaining Thoughts for the Week01:09:39 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, YouTube, or TikTok (@gmoatpodcast).For more on the episode, go to: https://www.ronnyduncanstudios.com/post/erin-brockovich-2000-ft-ryan-luis-rodriguezFor the entire rankings list so far, go to: https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-listKeywords:Erin Brockovich, Steven Soderbergh, Julia Roberts, legal drama, environmental issues, film analysis, movie podcast, Oscar winner, character study, film legacy, Best Director, Best Actress, Oscar, Best Picture, nomineeRonny Duncan Studios

SMFM2016500期节目的时候，有听友许愿想听五个人聚齐聊奥斯卡，你看，这不就来了么（央视主持范儿）。这期我们聊了聊10部提名奥斯卡最佳影片的作品，也顺便给大家推荐了几部，我们认为更值得的作品。我们吵了个痛快，也希望大家听个开心~04:05 今年的奥斯卡提名综述10:30 《艾米莉亚·佩雷斯》36:24 《魔法坏女巫》42:33 《粗野派》1:29:18 《无名小辈》1:37:23 《秘密会议》1:56:55 《阿诺拉》2:36:57 《沙丘2》2:39:52 《某种物质》2:45:39 《我仍在此 》2:49:33 《五分钱男孩》2:54:25 虽然没入围最佳影片，但是我们更推荐它们3:03:08 大家的一些预测「什么电苔」出了全新付费专辑《有什么好笑的？》，大家可以直接选择点击如下链接购买完整专辑，收听所有后续更新，https://www.xiaoyuzhoufm.com/podcast-topic/673ac195f373fe5d4d1f7d2f开头bgm：Dreaming by Blondie《阿诺拉》插曲结尾bgm：El Mal by Zoe Saldana/Karla Sofia Gascon/Camille 《艾米莉亚·佩雷斯》想做嘉宾，联系我们：whatfmmovie@163.com孔老师微博@做着学生的孔老师王老师微博@浩浩很含蓄什么电台官方微博@什么电苔某老师B站：什么电苔孔老师 本期阵容：什么电苔 全体主播第97届奥斯卡完整入围名单最佳男主角● 阿德里安·布洛迪 – 《粗野派》● 提莫西·夏勒梅 – 《无名小辈》● 科尔曼·多明戈 – 《监狱剧院》● 拉尔夫·费因斯 – 《秘密会议》● 塞巴斯蒂安·斯坦 – 《飞黄腾达》最佳男配角● 尤里·鲍里索夫 – 《阿诺拉》● 基兰·库利金 – 《真正的痛苦》● 爱德华·诺顿 – 《无名小辈》● 盖伊·皮尔斯 – 《粗野派》● 杰里米·斯特朗 – 《飞黄腾达》最佳女主角● 辛西娅·艾莉沃 – 《魔法坏女巫》● 卡拉·索菲亚·加斯孔 – 《埃米莉亚·佩雷斯》● 米基·麦迪逊 – 《阿诺拉》● 黛米·摩尔 – 《某种物质》● 费尔南达·托雷斯 – 《我仍在此》最佳女配角● 莫妮卡·巴巴罗 – 《无名小辈》● 阿丽安娜·格兰德 – 《魔法坏女巫》● 费莉西蒂·琼斯 – 《粗野派》● 伊莎贝拉·罗西里尼 – 《秘密会议》● 佐伊·索尔达娜 – 《埃米莉亚·佩雷斯》最佳动画长片 ● 《猫的奇幻漂流》 – Gints Zilbalodis, Matīss Kaža, Ron Dyens 和 Gregory Zalcman● 《头脑特工队2》 – Kelsey Mann 和 Mark Nielsen● 《蜗牛的回忆》 – Adam Elliot 和 Liz Kearney●《超级无敌掌门狗：企鹅的复仇》 – Nick Park, Merlin Crossingham 和 Richard Beek● 《荒野机器人》 – Chris Sanders 和 Jeff Hermann最佳动画短片● 《毛发再生的男人》 – Nicolas Keppens 和 Brecht Van Elslande● 《柏树树荫下》 – Shirin Sohani 和 Hossein Molayemi● 《魔糖》 – Daisuke Nishio 和 Takashi Washio● 《漫步至仙境》 – Nina Gantz 和 Stienette Bosklopper● 《噫！》 – Loïc Espuche 和 Juliette Marquet最佳摄影● 《粗野派》 – Lol Crawley● 《沙丘2》 – Greig Fraser● 《埃米莉亚·佩雷斯》 – Paul Guilhaume● 《玛丽亚·》 – Ed Lachman● 《诺斯费拉图》 – Jarin Blaschke最佳服装设计● 《无名小辈》 – Arianne Phillips● 《秘密会议》 – Lisy Christl● 《角斗士2》 – Janty Yates 和 Dave Crossman● 《诺斯费拉图》 – Linda Muir● 《魔法坏女巫》 – Paul Tazewell最佳导演● 《阿诺拉》 – Sean Baker● 《粗野派》 – Brady Corbet● 《无名小辈》 – James Mangold● 《埃米莉亚·佩雷斯》 – Jacques Audiard● 《某种物质》 – Coralie Fargeat最佳纪录片长片● 《黑箱日记》 – Shiori Ito, Eric Nyari 和 Hanna Aqvilin● 《唯一的家园》 – Basel Adra, Rachel Szor, Hamdan Ballal 和 Yuval Abraham● 《瓷器战争》 – Brendan Bellomo, Slava Leontyev, Aniela Sidorska 和 Paula DuPre’ Pesmen● 《政变的配乐》 – Johan Grimonprez, Daan Milius 和 Rémi Grellety● 《甘蔗》 – Julian Brave NoiseCat, Emily Kassie 和 Kellen Quinn最佳纪录片短片● 《死亡数字》 – Kim A. Snyder 和 Janique L. Robillard● 《我准备好了，典狱长》 – Smriti Mundhra 和 Maya Gnyp● 《事件》 – Bill Morrison 和 Jamie Kalven● 《心跳的仪器》 – Ema Ryan Yamazaki 和 Eric Nyari● 《 爱乐唯她：纽约爱乐首位女团员》 – Molly O'Brien 和 Lisa Remington最佳剪辑● 《阿诺拉》 – Sean Baker● 《粗野派》 – David Jancso● 《秘密会议》 – Nick Emerson● 《埃米莉亚·佩雷斯》 – Juliette Welfling● 《魔法坏女巫》 – Myron Kerstein最佳国际影片● 巴西 – 《我仍在此》● 丹麦 – 《拿针的女孩》● 法国 – 《埃米莉亚·佩雷斯》● 德国 – 《神圣无花果之种》● 拉脱维亚 – 《猫的奇幻漂流》最佳化妆与发型设计● 《不同的男人》 – Mike Marino, David Presto 和 Crystal Jurado● 《埃米莉亚·佩雷斯》 – Julia Floch Carbonel, Emmanuel Janvier 和 Jean-Christophe Spadaccini● 《诺斯费拉图》 – David White, Traci Loader 和 Suzanne Stokes-Munton● 《某种物质》 – Pierre-Olivier Persin, Stéphanie Guillon 和 Marilyne Scarselli● 《魔法坏女巫》 – Frances Hannon, Laura Blount 和 Sarah Nuth最佳原创音乐● 《粗野派》 – Daniel Blumberg● 《秘密会议》 – Volker Bertelmann● 《埃米莉亚·佩雷斯》 – Clément Ducol 和 Camille● 《魔法坏女巫》 – John Powell 和 Stephen Schwartz● 《荒野机器人》 – Kris Bowers最佳原创歌曲● 《El Mal》 – 选自《埃米莉亚·佩雷斯》；音乐：Clément Ducol 和 Camille；歌词：Clément Ducol, Camille 和 Jacques Audiard● 《The Journey》 – 选自《六三八》；音乐和歌词：Diane Warren● 《Like A Bird》 – 选自《监狱剧院》；音乐和歌词：Abraham Alexander 和 Adrian Quesada● 《Mi Camino》 – 选自《埃米莉亚·佩雷斯》；音乐和歌词：Camille 和 Clément Ducol● 《Never Too Late》 – 选自《埃尔顿·约翰：永不嫌晚》；音乐和歌词：埃尔顿·约翰, Brandi Carlile, Andrew Watt 和 Bernie Taupin最佳影片● 《阿诺拉》 – Alex Coco, Samantha Quan 和 Sean Baker, 制片人● 《粗野派》 – 提名待定● 《无名小辈》 – Fred Berger, James Mangold 和 Alex Heineman, 制片人● 《秘密会议》 – Tessa Ross, Juliette Howell 和 Michael A. Jackman, 制片人● 《沙丘2》 – Mary Parent, Cale Boyter, Tanya Lapointe 和 Denis Villeneuve, 制片人● 《埃米莉亚·佩雷斯》 – 提名待定● 《我仍在此》 – 提名待定● 《五分钱男孩》 – 提名待定● 《某种物质》 – 提名待定● 《魔法坏女巫》 – Marc Platt, 制片人最佳美术指导● 《粗野派》 – 美术指导：Judy Becker；布景装饰：Patricia Cuccia● 《秘密会议》 – 美术指导：Suzie Davies；布景装饰：Cynthia Sleiter● 《沙丘2》 – 美术指导：Patrice Vermette；布景装饰：Shane Vieau● 《诺斯费拉图》 – 美术指导：Craig L；布景装饰： Beatrice Brentnerová● 《魔法坏女巫》- 美术指导：Nathan Crowley; 布景装饰: Lee Sandales最佳真人短片●一个外星人 – Sam Cutler-Kreutz 和 David Cutler-Kreutz●阿努贾 – Adam J. Graves 和 Suchitra Mattai●我不是机器人 – Victoria Warmerdam 和 Trent● 最后的游骑兵 – Cindy Lee 和 Darwin Shaw● 无法沉默的人 – Nebojša Slijepčević 和 Danijel Pek最佳音效● 无名小辈 – Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey 和 David Giammarco● 沙丘2 – Gareth John, Richard King, Ron Bartlett 和 Doug Hemphill● 埃米利亚·佩雷斯 – Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz 和 Niels Barletta● 魔法坏女巫 – Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson 和 John Marquis● 野生机器人 – Randy Thom, Brian Chumney, Gary A. Rizzo 和 Leff Lefferts最佳视觉效果● 异形：罗慕路斯 – Eric Barba, Nelson Sepulveda-Fauser, Daniel Macarin 和 Shane Mahan● 更好的人 – Luke Millar, David Clayton, Keith Herft 和 Peter Stubbs● 沙丘2 – Paul Lambert, Stephen James, Rhys Salcombe 和 Gerd Nefzer● 猩球王国 – Erik Winquist, Stephen Unterfranz, Paul Story 和 Rodney Burke● 魔法坏女巫 – Pablo Helman, Jonathan Fawkner, David Shirk 和 Paul Corbould最佳改编剧本（Writing – Adapted Screenplay）● 无名小辈 – 编剧：James Mangold 和 Jay Cocks● 秘密会议 – 编剧：Peter Straughan● 埃米利亚·佩雷斯 – 编剧：Jacques Audiard；与 Thomas Bidegain, Léa Mysius 和 Nicolas Livecchi 合作● 五分钱男孩 – 编剧：RaMell Ross & Joslyn Barnes● 监狱剧院 – 编剧：Clint Bentley, Greg Kwedar；故事：Clint Bentley, Greg Kwedar, Clarence Maclin, John “Divine G” Whitfield最佳原创剧本● 阿诺拉 – 编剧：Sean Baker● 粗野派 – 编剧：Brady Corbet, Mona Fastvold● 真正的痛苦 – 编剧：Jesse Eisenberg● 九月五日 – 编剧：Moritz Binder, Tim Fehlbaum；联合编剧：Alex David● 某种物质 – 编剧：Coralie Fargeat

Long-time friend and colleague Jenelle Riley of Variety magazine chats with Ben and Illya for our SIXTH annual Oscar nominations special. With a focus on cinematography, they discuss what they liked, what will win, what should win, and their favorite movies of the year that may not have been recognized. They discuss this year's nominations, the BAFTAs as a predictor for this year's Oscars, the ASC Awards nominees, and a little about last year's nominee and winner, Hoyte Van Hoytema, for Oppenheimer. Both Alice Brooks for Wicked and Stéphane Fontaine for Conclave were not nominated this awards season, but were nominated for ASC Awards. Ed Lachman, cinematographer of Maria, won the ASC Award this year. Ben, Jenelle and Illya agree that Drew Daniels for Anora and Benjamin Kracun for The Substance were also cinematographers who deserve recognition for their work. Academy Award nominees for Best Cinematography this year are: Lol Crawley, The Brutalist Greig Fraser, Dune Part 2 Paul Guilhaume, Emilia Pérez Ed Lachman, Maria Jarin Blaschke, Nosferatu Find Jenelle Riley on Facebook, Instagram, Blue Sky, X: @jenelleriley and Variety: https://variety.com/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Table of Contents: CINEMATOGRAPHY01:38 - “The Brutalist” - Lol Crawley02:52 - “Dune: Part Two” - Greig Fraser04:36 - “Emilia Pérez” - Paul Guilhaume06:48 - “Maria” - Ed Lachman09:08 - “Nosferatu” - Jarin BlaschkeORIGINAL SCORE10:29 - “The Brutalist” - Daniel Blumberg11:18 - “Conclave” - Volker Bertelmann13:04 - “Emilia Pérez” - Clément Ducol and Camille14:20 - “Wicked” - John Powell and Stephen Schwartz15:39 - “The Wild Robot” - Kris BowersSOUND18:06 - “A Complete Unknown” - Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco19:41 - “Dune: Part Two” - Gareth John, Richard King, Ron Bartlett and Doug Hemphill20:57 - “Emilia Pérez” - Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta22:59 - “Wicked” - Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis24:26 - “The Wild Robot” - Randy Thom, Brian Chumney, Gary A. Rizzo and Leff LeffertsThis past year featured some of the most stunning, innovative, and groundbreaking work in the categories of Cinematography, Original Score, and Sound. And since we've been diligently interviewing the artists and teams who have received Academy Award® nominations in those categories, we offer you this special round-up episode — to help give some greater insight into how to cast your final votes. The soundbites in this episode are mere snippets from the discussions we've been conducting through the past several months. If you'd like to take a deeper dive:FULL EPISODES, BY CATEGORY:= CINEMATOGRAPHY =“The Brutalist”237 - Lol Crawley and the Cinematography of The Brutalist - Feb 10th, 2025YouTube: https://youtu.be/d342-st5dvgSpotify: https://open.spotify.com/episode/0Txxk3xNAcmItPwsm9GquPApple Podcasts: https://podcasts.apple.com/us/podcast/237-lol-crawley-and-the-cinematography-of-the-brutalist/id1549901182?i=1000690773442“Dune: Part Two”189 - Greig Fraser and the Cinematography of Dune: Part Two - March 5th, 2024YouTube: https://youtu.be/39p8wPkhmtMSpotify: https://open.spotify.com/episode/5WMtD1WbGGVBgrlQtSFzONApple Podcasts: https://podcasts.apple.com/us/podcast/189-greig-fraser-and-the-cinematography-of-dune-part-two/id1549901182?i=1000648108720“Emilia Pérez”220 - The Making of Emilia Pérez - Dec 4th, 2024YouTube: https://youtu.be/VZruPNqHv3wSpotify: https://open.spotify.com/episode/1YHHeGMGzBwdTIXlHKAgz2Apple Podcasts: https://podcasts.apple.com/us/podcast/220-the-making-of-emilia-p%C3%A9rez/id1549901182?i=1000679018480“Maria”236 - Ed Lachman and the Cinematography of Maria - Feb 7th, 2025YouTube:

Academy Award®-nominated cinematographer Ed Lachman joins us to discuss his gorgeous cinematography on “Maria,” directed by Pablo Larraín. The seasoned director of photography shares his approach to blending formats — including 35mm, Super 8, and 16mm — to capture the operatic essence of Maria Callas's life, as well as his use of color psychology, lighting techniques, and period-specific film stocks to evoke emotion and authenticity."Opera and cinema are very similar… Opera's images are not representational either. Like cinema. And they create the subtext for the emotions of the story. And what helps to create the nonverbal form of communication is the same thing that happens in music of the opera. It's a heightened reality… I felt the film could be a representation if her life, mirrored in the operas that she sang in. And even though people say she was the sum of the tragedies of the opera she sang, I believe she had the resistance and strength to overcome." —Ed Lachman, Director of Photography, “Maria”Be sure to check out “Maria,” 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.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

"Maria" had its world premiere at the 2024 Venice International Film Festival, where it received positive reviews for Angelina Jolie's breathtaking performance as Maria Callas, one of the world's most renowned Opera singers, Pablo Larraín's gorgeous direction, Ed Lachman's sumptuous cinematography and the detailed production design from Guy Hendrix Dyas. The Next Best Picture team was lucky enough to speak with Larraín, Lachman, and Dyas to get an insightful look into the making of the Netflix film. First up, we have Ema Sasic's interview with director Pablo Larraín. Then we have Giovanni Lago's interview with cinematographer Ed Lachman, and then we end with Cody Dericks'sinterview with production designer Guy Hendrix Dyas. Please be sure to check out the film, which is now available to stream on Netflix and is up for your consideration at this year's Academy Awards in all eligible categories, including Best Actress (Angelina Jolie), Best Director, Best Cinematography, Best Costume Design, Best Makeup & Hairstyling and Best Production Design. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

For today's daily NYFF62 podcast, director Pablo Larraín, cast members Angelina Jolie and Alba Rohrwacher, cinematographer Ed Lachman, production designer Guy Hendrix Dyas, and editor Sofía Subercaseaux join NYFF Artistic Director Dennis Lim to discuss Maria.  In an all-consuming performance at once poignant and imperious, Angelina Jolie becomes Maria Callas, the American-born, Greek opera singer whose voice and intensely dramatic life captivated millions before her death from a heart attack at the age of 53.  Maria opens in theaters on November 27 and arrives on Netflix on December 11. Tickets to the New York Film Festival are moving fast! Get up-to-date information on all available tickets on a daily basis by visiting filmlinc.org/tix.

Masters of the Air on AppleTV+ is about the pilots who served in the 100th Bomb Group in the U.S. Air Force during World War II. Cinematographer Richard Rutkowski shot episodes 107 and 108, which included both aerial flying, bombing and imprisoned airmen at a German POW camp. From the beginning, Richard was impressed with how everything was organized on such a massive scale. The props, set design and costumes were extremely exact to the time period. “I really am attracted to stories that have authenticity in them,” says Richard. “And they put the authentic on camera. It is all exactly what it's meant to be, what it was at the time, as close as they can get.” Richard worked with director Dee Rees on their block of Masters of the Air. The prison camp scenes involved working with searchlights, mud and absolute darkness at night, with up to 250 people in a scene. He chose to light in a way that would emphasize the dim lighting, gray atmosphere and unhealthy look for the POWs. Some of the Tuskegee Airmen, the legendary African-American fighter pilots, are also brought to the POW camp and the prisoners are integrated into the previously racially-segregated fighting force. Shooting the action inside the planes involved large-scale LED volume screens surrounding the aircraft sections, with an LED roof overhead, which created most of the lighting for the scene. The actors were placed on a gimbal controlled articulated steel deck so they could react to the motion. The cameras tracked with the video system, and had GPS locators that allowed the background to respond to where the camera was so that it knew how much background to put in. Richard was the sole cinematographer on the FX series The Americans for several seasons. The Americans was about a Russian spy couple posing as Americans in suburban Washington D.C. during the Cold War in the 1980's. Richard established the look of the show, with the couple's “normal” DC life leaning into bolder primary colors, in a kind of red, white, and blue cleanliness. By contrast, in their double life as spies, Richard chose a grittier, darker and grainy look. On The Americans, Richard says he learned the value of letting the actors do their work. “(There is) an unspoken connection being made about whether a scene is moving well, whether a take is truly finished. I would learn to stop reaching for that cut button. No matter who said what, if the actor was in it, we don't cut. You leave the boom up, keep out of the frame. If the actor's in it, we're not cutting. We'll go till they're ready.” As a kid, Richard's father was a fine art painter and he grew up all over the country. He began making 16mm films in college and working with theatrical director Robert Wilson. After college, Richard started working on small budget films, working his way up through the camera department, including being a second assistant camera on School Ties with cinematographer Freddie Francis, a two time Oscar winner. After School Ties, Richard wrote Ed Lachman asking to work with him, and he went on to work with Ed on several movies. He feels that working your way up and learning all the different crafts in the camera department is a great education for a DP. Masters of the Air is available on AppleTV+. Find Richard Rutkowski: Instagram @richardrutkowskidp Sponsored by Hot Rod Cameras www.hotrodcameras.com Sponsored by Aputure: https://www.aputure.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Andrew goes through his Oscar ballot before the big night. The fact that Ed Lachman didn't reteam with Todd Haynes and the abundance of product movies last year are much lamented.

We're back for another episode, and joined by Sloop Brewing Company's Juice Bomb Northeastern IPA. The beers kickoff things with the legend Walter's wedding in Chicago (1:16). Dylan shares his most recent trip to The Paris Theater where he caught a special screening of ‘El Conde', that was followed up by an unforgettable Q&A from the film's cinematographer Ed Lachman (5:41). Dylan also shares his take on other foreign films, ‘The Taste of Things' and ‘Perfect Days' (26:52). Separated from movies as of recently, Rog shares a breakdown of The Sopranos Season 2, and why the season was the season that validated the show's legacy (34:18). Although not in the studio audience for this episode, Tina finally popped her ‘Pulp Fiction' cherry and Rog gives the cliff notes of her first time seeing it (47:28). The beers wrap up the episode with their thoughts on the latest season of ‘True Detective', prior to the season finale which aired the night this was recorded. Now sip back and enjoy the show!Created by upStreamhttps://www.upstreampix.com/the-wrap-beers-podcastFollow The Wrap Beers Podcast!https://www.instagram.com/thewrapbeers/https://twitter.com/TheWrapBeersDylan - https://www.instagram.com/dylan_john_murphy/Roger - https://www.instagram.com/rogerzworld/

El Conde is a a dark comedy/horror film that portrays former Chilean dictator Augusto Pinochet as a 250 year old vampire. Director Pablo Larraín wanted to play with the idea that a dictatorship is a blood-sucking drain on society with lasting generational impacts. Cinematographer Ed Lachman immediately liked Larraín's message. “El Conde is his allegory of how we are seduced into yielding to fascism. And it isn't just in Chile. It's like the last 50 years, we're facing that all over the world. That's why I think the film has something to say- if you can get past the gore.” Ed had been a long time admirer of Larraín's work. He found Larraín's films to be conceptually brilliant with camera placement and movement to tell the story. “They say a cinematographer and a director is a marriage. But I always like to think of it as a dance partner- you hear the same music, but do your steps compliment each other? And I've certainly felt I have that relationship with Pablo.” Ed knew he wanted to shoot El Conde in black and white, referencing gothic vampire movies such as Nosferatu and Vampyr (1932). Working with Netflix Latin America, Larraín obtained approval to originate the film in black and white rather than shoot in color and then desaturate it later. For production design, special effects and costumes, all the color choices could be made for the best look in black and white. Ed decided to use the ARRI LF camera, and fortunately, ARRI had just developed a monochromatic sensor for them to use. He enjoys shooting with an actual black and white camera because the exposure latitude and grain structure is different, and he can use monochromatic filters meant for black and white cinematography. El Conde features some amazingly realistic scenes of vampires flying. The night flying sequences had to be done with a blue screen, which did require a color camera. But all of the day flying sequences and stunts were shot with the black and white camera. The flying sequences were done practically, with no special effects. A 120ft crane suspended the camera operator, who moved through the air with the actors and stunt acrobats on wires. Ed used the EL Zone System, a method he invented, to figure out the proper exposures for the cameras on El Conde. He's developed the EL Zone system over the past 10 years, in an effort to measure light values and standardize exposures for digital cameras, and won a technical Emmy in 2023 for the technology. The system uses 18% gray as the standard, which is a universal photography standard. The camera's sensor data is used as a reference point and filmmakers can view the entire exposure of a shot on a monitor to make lighting adjustments easier. El Conde is streaming on Netflix: https://www.netflix.com/title/81590652 Find Ed Lachman, and learn more about the EL Zone System: https://www.elzonesystem.com/ Sponsored by Hot Rod Cameras www.hotrodcameras.com Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Get access to this entire episode, the entire Denzember catalog, and all of our premium episodes by becoming a Hit Factory Patron for just $5/month.Universally beloved Vulture critic and Hit Factory all-star Roxana Hadadi returns to close out Denzember with a hefty chat about Mira Nair's 1991 romantic drama 'Mississippi Masala', a story of identity, the generational pursuit of belonging, and the possibility of new futures through the radical expression of love without boundaries. We discuss the career of the undersung Nair, from her start as a documentarian through her more recent narrative features like 'The Namesake' and 'The Reluctant Fundamentalist'. Then we discuss the film's wholly singular voice and level of representation; how it refuses simple binaries about a diverse set of cultures, and why extricating a white perspective allows the story to detail difficult realities of non-white experiences. Finally, we discuss the film's impossibly alluring romantic thread between Denzel Washington and first-time performer Sarita Choudhury and the honesty that can be revealed through the pairing of a veteran actor's craft and a non-actor's authenticity. Roxana's Top 5 Denzel Washington Performances:Honorable Mentions: The Pelican Brief, Much Ado About Nothing1. Mississippi Masala2. Malcolm X3. Man on Fire4. The Mancuiran Candidate5. Inside ManAaron's Top 5 Denzel Washington Performances:Honorable Mentions: Philadelphia, Crimson Tide1. Malcolm X2. Training Day3. Deja Vu4. Flight5. The Tragedy of MacbethCarlee's Top 5 Denzel Washington Performances:Honorable Mentions: Malcolm X, The Hurricane1. Ricochet2. Crimson Tide3. Training Day4. Flight5. Mississippi MasalaFollow Roxana Hadadi on Twitter....Our Denzember theme song is "FUNK" by OPPO.

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 6 of the Director Watch Podcast, they are joined by AwardsWatch contributor Nicole Ackman to discuss the final film in their Todd Haynes series, Dark Waters (2019). On the surface, Dark Waters may seem like an odd choice for Todd Haynes to direct, making the project almost seem like a “director for hire” situation. But once you dive into this legal thriller, the more of Haynes you will find. In a story about an environmental lawyer who puts everything on the line to expose DuPont, one of the world's largest chemical companies, of a lengthy history of pollution, Haynes dives into not just how the danger threatens everyone in the local small towns that are being poisoned by DuPont, but the millions of people around the world using their products. In doing this, Haynes makes a visually striking, cynical drama about one man's endless such for accountability. Led by Haynes's excellent direction, Ryan, Jay, and Nicole discuss Mark Ruffalo's performance, Ed Lachman's bold cinematography, which character actors stand out in the cast, if Anne Hathaway's performance is underwritten, and if Dark Waters is the most underrated gem from 2019 film year.  Warning, the audio to this episode was damaged but that still shouldn't stop you from listening to this fantastic, fun conversation. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h28m. The guys will be back next week to begin their Denis Villeneuve series with a look at Incendies. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

This episode looks at the 1984 debut novel by Bret Easton Ellis, and its 1987 film adaptation. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about 80s author Bret Easton Ellis and his 1985 novel Less Than Zero, the literal polar opposite of last week's subjects, Jay McInerney and his 1984 novel Bright Lights, Big City. As I mentioned last week, McInerney was twenty-nine when he published Bright Lights, Big City. What I forgot to mention was that he was born and raised in Hartford, Connecticut, halfway between Boston and New York City, and he would a part of that elite East Coast community that befits the upper class child of a corporate executive. Bret Easton Ellis was born and raised in Los Angeles. His father was a property developer, and his parents would divorce when he was 18. He would attend high school at The Buckley School, a college prep school in nearby Sherman Oaks, whose other famous alumni include a who's who of modern pop culture history, including Paul Thomas Anderson, Tucker Carlson, Laura Dern, Paris Hilton, Kim Kardashian, Alyssa Milano, Matthew Perry, and Nicole Richie. So they both grew up fairly well off. And they both would attend tony colleges in New England.  Ellis would attend Bennington College in Vermont, a private liberal arts college whose alumni include fellow writers Jonathan Lethem and Donna Tartt, who would both graduate from Bennington the same year as Ellis, 1986. While still attending The Buckley School, the then sixteen year old Ellis would start writing the book he would call Less Than Zero, after the Elvis Costello song. The story would follow a protagonist not unlike Bret Easton Ellis and his adventures through a high school not unlike Buckley. Unlike the final product, Ellis's first draft of Less Than Zero wore its heart on its sleeve, and was written in the third person.  Ellis would do a couple of rewrites of the novel during his final years at Buckley and his first years at Bennington, until his creative writing professor, true crime novelist Joe McGinness, suggested to the young writer that he revert his story back to the first person, which Ellis was at first hesitant to do. But once he did start to rewrite the story as a traditional novel, everything seemed to click. Ellis would have his book finished by the end of the year, and McGinniss was so impressed with the final product that he would submit it to his own agent to send out to publishers. Bret Easton Ellis was only a second year student at the time. And because timing is everything in life, Less Than Zero was being submitted to publishers just as Bright Lights, Big City was tearing up the best seller charts, and the publisher Simon and Schuster would purchase the rights to the book for $5,000. When the book was published in June 1985, Ellis just finished his third year at Bennington.  He was only twenty-one years and three months old. Oh… also… before the book was published, the film producer Marvin Worth, whose credits included Bob Fosse's 1974 doc-drama about Lenny Bruce starring Dustin Hoffman, 1979's musical drama The Rose, Bette Midler's breakthrough film as an actress, and the 1983 Dudley Moore comedy Unfaithfully Yours, would purchase the rights to make the novel into a movie, for $7,500. The film would be produced at Twentieth Century-Fox, under the supervision of the studio's then vice president of production, Scott Rudin. The book would become a success upon its release, with young readers gravitating towards Clay and his aimless, meandering tour of the rich and decadent young adults in Los Angeles circa Christmas 1984, bouncing through parties and conversations and sex and drugs and shopping malls. One of those readers who became obsessed with the book was a then-seventeen year old Los Angeles native who had just returned to the city after three years of high school in Northern California. Me. I read Less Than Zero easily three times that summer, enraptured not only with Ellis's minimalist prose but with Clay specifically. Although I was neither bisexual nor a user of drugs, Clay was the closest thing I had ever seen to myself in a book before. I had kept in touch with my school friends from junior high while I lived in Santa Cruz, and I found myself to have drifted far away from them during my time away from them. And then when I went back to Santa Cruz shortly after Christmas in 1985, I had a similar feeling of isolation from a number of my friends there, not six months after leaving high school. I also loved how Ellis threw in a number of then-current Los Angeles-specific references, including two mentions of KROQ DJ Richard Blade, who was the coolest guy in radio on the planet. And thanks to Sirius XM and its First Wave channel, I can still listen to Richard Blade almost daily, but now from wherever I might be in the world. But I digress. My bond with Less Than Zero only deepened the next time I read it in early 1986. One of the things I used to do as a young would-be screenwriter living in Los Angeles was to try and write adaptation of novels when I wasn't going to school, going to movies, or working as a file clerk at a law firm. But one book I couldn't adapt for the life of me was Less Than Zero. Sure, there was a story there, but its episodic nature made it difficult to create a coherent storyline. Fox felt the same way, so they would hire Michael Cristofer, a Pulitzer Prize-winning playwright, to do the first draft of the script. Cristofer had just finished writing the adaptation of John Updike's The Witches of Eastwick that Mad Max director George Miller was about to direct, and he would do a literal adaptation of Ellis's book, with all the drugs and sex and violence, except for a slight rehabilitation of the lead character's sexuality. Although it was still the 1980s, with one part of the nation dramatically shifting its perspective on many types of sexuality, it was still Ronald Reagan's 1980s America, and maybe it wasn't a good idea to have the lead character be openly bisexual in a major studio motion picture. Cristofer would complete his first draft of the script in just one month, and producer Marvin Worth really loved it. Problem was, the Fox executives hated it. In a November 18th, 1987, New York Times article about the adaptation, Worth would tell writer Allen Harmetz that he thought Cristofer's script was highly commercial, because “it had something gripping to say about the dilemma of a generation to whom nothing matters.” Which, as someone who had just turned twenty years old eight days after the movie's release and four days before this article came out, I absolutely disagree with. My generation cared about a great many things. We cared about human rights. We cared about ending apartheid. We cared about ending AIDS and what was happening politically and economically. Yeah, we also cared about puffy jean jackets and neon colored clothes and other non-sensical things to take our minds off all the other junk we were dealing with, but it would be typical of a forty something screenwriter and a fiftysomething producer to thing we didn't give a damn about anything. But again, I digress. Worth and the studio would agree on one thing. It wasn't really a drug film, but about young people being destroyed by the privilege of having everything you ever wanted available to you. But the studio would want the movie version of the book to be a bit more sanitized for mainstream consumption. Goodbye, Marvin Worth. Hello, Jon Avnet. In 1986, Jon Avnet was mostly a producer of low-budget films for television, with titles like Between Two Women and Calendar Girl Murders, but he had struck gold in 1983 with a lower-budgeted studio movie with a first-time director and a little known lead actor. That movie was Risky Business, and it made that little known lead actor, Tom Cruise, a bona-fide star. Avnet, wanting to make the move out of television and onto the big screen, would hire Harley Peyton, a former script reader for former Columbia Pictures and MGM/UA head David Begelman, who you might remember from several of our previous episodes, and six-time Oscar nominated producer/screenwriter Ernest Lehman. Peyton would spend weeks in Avnet's office, pouring over every page of the book, deciding what to keep, what to toss, and what to change. Two of the first things to go were the screening of a “snuff” film on the beach, and a scene where a twelve year old girl is tied to a bedpost and raped by one of the main characters. Julian would still hustle himself out to men for money to buy drugs, but Clay would a committed heterosexual. Casting on the film would see many of Hollywood's leading younger male actors looked at for Clay, including a twenty-three year old recent transplant from Oklahoma looking not only for his first leading role, but his first speaking role on screen. Brad Pitt. The producers would instead go with twenty-four year old Andrew McCarthy, an amiable-enough actor who had already made a name for himself with such films as St. Elmo's Fire and Pretty in Pink, and who would have another hit film in Mannequin between being cast as Clay and the start of production. For Blair, they would cast Jami Gertz, who had spent years on the cusp of stardom, between her co-starring role as Muffy Tepperman on the iconic 1982 CBS series Square Pegs, to movies such as Quicksilver and Crossroads that were expected to be bigger than they ended up being. The ace up her sleeve was the upcoming vampire horror/comedy film The Lost Boys, which Warner Brothers was so certain was going to be a huge hit, they would actually move it away from its original Spring 1987 release date to a prime mid-July release. The third point in the triangle, Julian, would see Robert Downey Jr. get cast. Today, it's hard to understand just how not famous Downey was at the time. He had been featured in movies like Weird Science and Tuff Turf, and spent a year as a Not Ready For Prime Time Player on what most people agree was the single worst season of Saturday Night Live, but his star was starting to rise.  What the producers did not know, and Downey did not elaborate on, was that, like Julian, Downey was falling down a spiral of drug use, which would make his performance more method-like than anyone could have guessed. The Red Hot Chili Peppers, who were hot in the Los Angeles music scene but were still a couple years from the release of their breakout album, 1989's Mothers Milk, were cast to play a band in one of the party scenes, and additional cast members would include James Spader and Lisanne Falk, who would become semi-famous two years later as one of the Heathers. Impressed with a 1984 British historical drama called Another Country featuring Colin Firth, Cary Elwes and Rupert Everett, Avnet would hire that film's 35 year old director, Marek Kanievska, to make his American directing debut. But Kanievska would be in for a major culture shock when he learned just how different the American studio system was to the British production system. Shooting on the film was set to begin in Los Angeles on May 6th, 1987, and the film was already scheduled to open in theatres barely six months later. One major element that would help keep the movie moving along was cinematographer Ed Lachman. Lachman had been working as a cinematographer for nearly 15 years, and had shot movies like Jonathan Demme's Last Embrace, Susan Sideman's Desperately Seeking Susan, and David Byrne's True Stories.  Lachman knew how to keep things on track for lower budgeted movies, and at only $8m, Less Than Zero was the second lowest budgeted film for Twentieth Century-Fox for the entire year. Not that having a lower budget was going to stop Kanievska and Lachman from trying make the best film they could. They would stage the film in the garish neon lighting the 80s would be best known for, with cool flairs like lighting a poolside discussion between Clay and Julian where the ripples of the water and the underwater lights create an effect on the characters' faces that highlight Julian's literal drowning in his problems. There's also one very awesome shot where Clay's convertible, parked in the middle of a street with its top down, as we see Clay and Blair making out while scores of motorcycles loudly pass by them on either side. And there's a Steadicam shot during the party scene featuring the Chili Peppers which is supposed to be out of this world, but it's likely we'll never see it. Once the film was finished shooting and Kanievska turned in his assembly cut, the studio was not happy with the film. It was edgier than they wanted, and they had a problem with the party scene with the Peppers. Specifically, that the band was jumping around on screen, extremely sweaty, without their shirts on. It also didn't help that Larry Gordon, the President of Fox who had approved the purchase of the book, had been let go before production on the film began, and his replacement, Alan Horn, who did give the final go-ahead on the film, had also been summarily dismissed. His replacement, Leonard Goldberg, really hated the material, thought it was distasteful, but Barry Diller, the chairman of the studio, was still a supporter of the project. During all this infighting, the director, Kanievska, had been released from the film.  Before any test screenings. Test screenings had really become a part of the studio modus operandi in the 1980s, and Fox would often hold their test screenings on the Fox Studio Lot in Century City. There are several screenings rooms on the Fox lot, from the 53 seat William Fox Theatre, to the 476 seat Darryl Zanuck Theatre. Most of the Less Than Zero test screenings would be held in the 120 seat Little Theatre, so that audience reactions would be easier to gauge, and should they want to keep some of the audience over for a post-screening Q&A, it would be easier to recruit eight or ten audience members. That first test screening did not go over well. Even though the screening room was filled with young people between the ages of 15 and 24, and many of them were recruited from nearby malls like the Century City Mall and the Beverly Center based off a stated liking of Andrew McCarthy, they really didn't like Jami Hertz's character, and they really hated Robert Downey Jr's. Several of the harder scenes of drug use with their characters would be toned down, either through judicious editing, or new scenes were shot, such as when Blair is seen dumping her cocaine into a bathroom sink, which was filmed without a director by the cinematographer, Ed Lachman. They'd also shoot a flashback scene to the trio's high school graduation, meant to show them in happier times. The film would be completed three weeks before its November 6th release date, and Fox would book the film into 871 theatres., going up against no less than seven other new movies, including a Shelley Long comedy, Hello Again, the fourth entry in the Death Wish series, yet another Jon Cryer high school movie, Hiding Out, a weird Patrick Swayze sci-fi movie called Steel Dawn, a relatively tame fantasy romance film from Alan Rudolph called Made in Heaven, and a movie called Ruskies which starred a very young Joaquin Phoenix when he was still known as Leaf Phoenix, while also contending with movies like Fatal Attraction, Baby Boom and Dirty Dancing, which were all still doing very well two to four months in theatres. The reviews for the film were mostly bad. If there was any saving grace critically, it would be the praise heaped upon Downey for his raw performance as a drug addict, but of course, no one knew he actually was a drug addict at that time. The film would open in fourth place with $3.01m in ticket sales, less than half of what Fatal Attraction grossed that weekend, in its eighth week of release. And the following weeks' drops would be swift and merciless. Down 36% in its second week, another 41% in its third, and had one of the worst drops in its fourth week, the four day Thanksgiving holiday weekend, when many movies were up in ticket sales. By early December, the film was mostly playing in dollar houses, and by the first of the year, Fox had already stopped tracking it, with slightly less than $12.4m in tickets sold. As of the writing of this episode, at the end of November 2022, you cannot find Less Than Zero streaming anywhere, although if you do want to see it online, it's not that hard to find. But it has been available for streaming in the past on sites like Amazon Prime and The Roku Channel, so hopefully it will find its way back to streaming in the future. Or you can find a copy of the 21 year old DVD on Amazon. Thank you for listening. We'll talk again real soon, when our final episode of 2022, Episode 96, on Michael Jackson's Thriller, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Less Than Zero the movie and the novel, and its author, Bret Easton Ellis. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

This episode looks at the 1984 debut novel by Bret Easton Ellis, and its 1987 film adaptation. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about 80s author Bret Easton Ellis and his 1985 novel Less Than Zero, the literal polar opposite of last week's subjects, Jay McInerney and his 1984 novel Bright Lights, Big City. As I mentioned last week, McInerney was twenty-nine when he published Bright Lights, Big City. What I forgot to mention was that he was born and raised in Hartford, Connecticut, halfway between Boston and New York City, and he would a part of that elite East Coast community that befits the upper class child of a corporate executive. Bret Easton Ellis was born and raised in Los Angeles. His father was a property developer, and his parents would divorce when he was 18. He would attend high school at The Buckley School, a college prep school in nearby Sherman Oaks, whose other famous alumni include a who's who of modern pop culture history, including Paul Thomas Anderson, Tucker Carlson, Laura Dern, Paris Hilton, Kim Kardashian, Alyssa Milano, Matthew Perry, and Nicole Richie. So they both grew up fairly well off. And they both would attend tony colleges in New England.  Ellis would attend Bennington College in Vermont, a private liberal arts college whose alumni include fellow writers Jonathan Lethem and Donna Tartt, who would both graduate from Bennington the same year as Ellis, 1986. While still attending The Buckley School, the then sixteen year old Ellis would start writing the book he would call Less Than Zero, after the Elvis Costello song. The story would follow a protagonist not unlike Bret Easton Ellis and his adventures through a high school not unlike Buckley. Unlike the final product, Ellis's first draft of Less Than Zero wore its heart on its sleeve, and was written in the third person.  Ellis would do a couple of rewrites of the novel during his final years at Buckley and his first years at Bennington, until his creative writing professor, true crime novelist Joe McGinness, suggested to the young writer that he revert his story back to the first person, which Ellis was at first hesitant to do. But once he did start to rewrite the story as a traditional novel, everything seemed to click. Ellis would have his book finished by the end of the year, and McGinniss was so impressed with the final product that he would submit it to his own agent to send out to publishers. Bret Easton Ellis was only a second year student at the time. And because timing is everything in life, Less Than Zero was being submitted to publishers just as Bright Lights, Big City was tearing up the best seller charts, and the publisher Simon and Schuster would purchase the rights to the book for $5,000. When the book was published in June 1985, Ellis just finished his third year at Bennington.  He was only twenty-one years and three months old. Oh… also… before the book was published, the film producer Marvin Worth, whose credits included Bob Fosse's 1974 doc-drama about Lenny Bruce starring Dustin Hoffman, 1979's musical drama The Rose, Bette Midler's breakthrough film as an actress, and the 1983 Dudley Moore comedy Unfaithfully Yours, would purchase the rights to make the novel into a movie, for $7,500. The film would be produced at Twentieth Century-Fox, under the supervision of the studio's then vice president of production, Scott Rudin. The book would become a success upon its release, with young readers gravitating towards Clay and his aimless, meandering tour of the rich and decadent young adults in Los Angeles circa Christmas 1984, bouncing through parties and conversations and sex and drugs and shopping malls. One of those readers who became obsessed with the book was a then-seventeen year old Los Angeles native who had just returned to the city after three years of high school in Northern California. Me. I read Less Than Zero easily three times that summer, enraptured not only with Ellis's minimalist prose but with Clay specifically. Although I was neither bisexual nor a user of drugs, Clay was the closest thing I had ever seen to myself in a book before. I had kept in touch with my school friends from junior high while I lived in Santa Cruz, and I found myself to have drifted far away from them during my time away from them. And then when I went back to Santa Cruz shortly after Christmas in 1985, I had a similar feeling of isolation from a number of my friends there, not six months after leaving high school. I also loved how Ellis threw in a number of then-current Los Angeles-specific references, including two mentions of KROQ DJ Richard Blade, who was the coolest guy in radio on the planet. And thanks to Sirius XM and its First Wave channel, I can still listen to Richard Blade almost daily, but now from wherever I might be in the world. But I digress. My bond with Less Than Zero only deepened the next time I read it in early 1986. One of the things I used to do as a young would-be screenwriter living in Los Angeles was to try and write adaptation of novels when I wasn't going to school, going to movies, or working as a file clerk at a law firm. But one book I couldn't adapt for the life of me was Less Than Zero. Sure, there was a story there, but its episodic nature made it difficult to create a coherent storyline. Fox felt the same way, so they would hire Michael Cristofer, a Pulitzer Prize-winning playwright, to do the first draft of the script. Cristofer had just finished writing the adaptation of John Updike's The Witches of Eastwick that Mad Max director George Miller was about to direct, and he would do a literal adaptation of Ellis's book, with all the drugs and sex and violence, except for a slight rehabilitation of the lead character's sexuality. Although it was still the 1980s, with one part of the nation dramatically shifting its perspective on many types of sexuality, it was still Ronald Reagan's 1980s America, and maybe it wasn't a good idea to have the lead character be openly bisexual in a major studio motion picture. Cristofer would complete his first draft of the script in just one month, and producer Marvin Worth really loved it. Problem was, the Fox executives hated it. In a November 18th, 1987, New York Times article about the adaptation, Worth would tell writer Allen Harmetz that he thought Cristofer's script was highly commercial, because “it had something gripping to say about the dilemma of a generation to whom nothing matters.” Which, as someone who had just turned twenty years old eight days after the movie's release and four days before this article came out, I absolutely disagree with. My generation cared about a great many things. We cared about human rights. We cared about ending apartheid. We cared about ending AIDS and what was happening politically and economically. Yeah, we also cared about puffy jean jackets and neon colored clothes and other non-sensical things to take our minds off all the other junk we were dealing with, but it would be typical of a forty something screenwriter and a fiftysomething producer to thing we didn't give a damn about anything. But again, I digress. Worth and the studio would agree on one thing. It wasn't really a drug film, but about young people being destroyed by the privilege of having everything you ever wanted available to you. But the studio would want the movie version of the book to be a bit more sanitized for mainstream consumption. Goodbye, Marvin Worth. Hello, Jon Avnet. In 1986, Jon Avnet was mostly a producer of low-budget films for television, with titles like Between Two Women and Calendar Girl Murders, but he had struck gold in 1983 with a lower-budgeted studio movie with a first-time director and a little known lead actor. That movie was Risky Business, and it made that little known lead actor, Tom Cruise, a bona-fide star. Avnet, wanting to make the move out of television and onto the big screen, would hire Harley Peyton, a former script reader for former Columbia Pictures and MGM/UA head David Begelman, who you might remember from several of our previous episodes, and six-time Oscar nominated producer/screenwriter Ernest Lehman. Peyton would spend weeks in Avnet's office, pouring over every page of the book, deciding what to keep, what to toss, and what to change. Two of the first things to go were the screening of a “snuff” film on the beach, and a scene where a twelve year old girl is tied to a bedpost and raped by one of the main characters. Julian would still hustle himself out to men for money to buy drugs, but Clay would a committed heterosexual. Casting on the film would see many of Hollywood's leading younger male actors looked at for Clay, including a twenty-three year old recent transplant from Oklahoma looking not only for his first leading role, but his first speaking role on screen. Brad Pitt. The producers would instead go with twenty-four year old Andrew McCarthy, an amiable-enough actor who had already made a name for himself with such films as St. Elmo's Fire and Pretty in Pink, and who would have another hit film in Mannequin between being cast as Clay and the start of production. For Blair, they would cast Jami Gertz, who had spent years on the cusp of stardom, between her co-starring role as Muffy Tepperman on the iconic 1982 CBS series Square Pegs, to movies such as Quicksilver and Crossroads that were expected to be bigger than they ended up being. The ace up her sleeve was the upcoming vampire horror/comedy film The Lost Boys, which Warner Brothers was so certain was going to be a huge hit, they would actually move it away from its original Spring 1987 release date to a prime mid-July release. The third point in the triangle, Julian, would see Robert Downey Jr. get cast. Today, it's hard to understand just how not famous Downey was at the time. He had been featured in movies like Weird Science and Tuff Turf, and spent a year as a Not Ready For Prime Time Player on what most people agree was the single worst season of Saturday Night Live, but his star was starting to rise.  What the producers did not know, and Downey did not elaborate on, was that, like Julian, Downey was falling down a spiral of drug use, which would make his performance more method-like than anyone could have guessed. The Red Hot Chili Peppers, who were hot in the Los Angeles music scene but were still a couple years from the release of their breakout album, 1989's Mothers Milk, were cast to play a band in one of the party scenes, and additional cast members would include James Spader and Lisanne Falk, who would become semi-famous two years later as one of the Heathers. Impressed with a 1984 British historical drama called Another Country featuring Colin Firth, Cary Elwes and Rupert Everett, Avnet would hire that film's 35 year old director, Marek Kanievska, to make his American directing debut. But Kanievska would be in for a major culture shock when he learned just how different the American studio system was to the British production system. Shooting on the film was set to begin in Los Angeles on May 6th, 1987, and the film was already scheduled to open in theatres barely six months later. One major element that would help keep the movie moving along was cinematographer Ed Lachman. Lachman had been working as a cinematographer for nearly 15 years, and had shot movies like Jonathan Demme's Last Embrace, Susan Sideman's Desperately Seeking Susan, and David Byrne's True Stories.  Lachman knew how to keep things on track for lower budgeted movies, and at only $8m, Less Than Zero was the second lowest budgeted film for Twentieth Century-Fox for the entire year. Not that having a lower budget was going to stop Kanievska and Lachman from trying make the best film they could. They would stage the film in the garish neon lighting the 80s would be best known for, with cool flairs like lighting a poolside discussion between Clay and Julian where the ripples of the water and the underwater lights create an effect on the characters' faces that highlight Julian's literal drowning in his problems. There's also one very awesome shot where Clay's convertible, parked in the middle of a street with its top down, as we see Clay and Blair making out while scores of motorcycles loudly pass by them on either side. And there's a Steadicam shot during the party scene featuring the Chili Peppers which is supposed to be out of this world, but it's likely we'll never see it. Once the film was finished shooting and Kanievska turned in his assembly cut, the studio was not happy with the film. It was edgier than they wanted, and they had a problem with the party scene with the Peppers. Specifically, that the band was jumping around on screen, extremely sweaty, without their shirts on. It also didn't help that Larry Gordon, the President of Fox who had approved the purchase of the book, had been let go before production on the film began, and his replacement, Alan Horn, who did give the final go-ahead on the film, had also been summarily dismissed. His replacement, Leonard Goldberg, really hated the material, thought it was distasteful, but Barry Diller, the chairman of the studio, was still a supporter of the project. During all this infighting, the director, Kanievska, had been released from the film.  Before any test screenings. Test screenings had really become a part of the studio modus operandi in the 1980s, and Fox would often hold their test screenings on the Fox Studio Lot in Century City. There are several screenings rooms on the Fox lot, from the 53 seat William Fox Theatre, to the 476 seat Darryl Zanuck Theatre. Most of the Less Than Zero test screenings would be held in the 120 seat Little Theatre, so that audience reactions would be easier to gauge, and should they want to keep some of the audience over for a post-screening Q&A, it would be easier to recruit eight or ten audience members. That first test screening did not go over well. Even though the screening room was filled with young people between the ages of 15 and 24, and many of them were recruited from nearby malls like the Century City Mall and the Beverly Center based off a stated liking of Andrew McCarthy, they really didn't like Jami Hertz's character, and they really hated Robert Downey Jr's. Several of the harder scenes of drug use with their characters would be toned down, either through judicious editing, or new scenes were shot, such as when Blair is seen dumping her cocaine into a bathroom sink, which was filmed without a director by the cinematographer, Ed Lachman. They'd also shoot a flashback scene to the trio's high school graduation, meant to show them in happier times. The film would be completed three weeks before its November 6th release date, and Fox would book the film into 871 theatres., going up against no less than seven other new movies, including a Shelley Long comedy, Hello Again, the fourth entry in the Death Wish series, yet another Jon Cryer high school movie, Hiding Out, a weird Patrick Swayze sci-fi movie called Steel Dawn, a relatively tame fantasy romance film from Alan Rudolph called Made in Heaven, and a movie called Ruskies which starred a very young Joaquin Phoenix when he was still known as Leaf Phoenix, while also contending with movies like Fatal Attraction, Baby Boom and Dirty Dancing, which were all still doing very well two to four months in theatres. The reviews for the film were mostly bad. If there was any saving grace critically, it would be the praise heaped upon Downey for his raw performance as a drug addict, but of course, no one knew he actually was a drug addict at that time. The film would open in fourth place with $3.01m in ticket sales, less than half of what Fatal Attraction grossed that weekend, in its eighth week of release. And the following weeks' drops would be swift and merciless. Down 36% in its second week, another 41% in its third, and had one of the worst drops in its fourth week, the four day Thanksgiving holiday weekend, when many movies were up in ticket sales. By early December, the film was mostly playing in dollar houses, and by the first of the year, Fox had already stopped tracking it, with slightly less than $12.4m in tickets sold. As of the writing of this episode, at the end of November 2022, you cannot find Less Than Zero streaming anywhere, although if you do want to see it online, it's not that hard to find. But it has been available for streaming in the past on sites like Amazon Prime and The Roku Channel, so hopefully it will find its way back to streaming in the future. Or you can find a copy of the 21 year old DVD on Amazon. Thank you for listening. We'll talk again real soon, when our final episode of 2022, Episode 96, on Michael Jackson's Thriller, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Less Than Zero the movie and the novel, and its author, Bret Easton Ellis. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

Today, on The Goggler Podcast, Uma speaks to Songs for Drella director, and two time Oscar nominated cinematographer, Ed Lachman.

El director estadounidense Ed Lachman nos cuenta cómo rescató un documento histórico: 'Songs for Drella'. Una puesta en escena compuesta por Lou Reed y John Cale para su amigo Andy Warhol.

Joe Gawler is the senior colorist and partner at The Harbor Picture Company in New York City. Joe and Lee go back a very long time. When Lee first started mastering movies in New York City, there weren't a lot of colorists who could work on feature films outside Hollywood. Most colorists in the city were only doing commercials or music videos and the emphasis was on the 30 second spot or the 3 minute MTV special. Joe could do these of course, but Lee quickly learned that Joe could handle the long form movie re-master very well. With the advent of high definition and the needed content to supply broadcasters with HD versions of classic films, Lee and Joe spent a lot of time together moving through dozens of films including Bergman, Fellini, Tarkovsky and countless others. Cut to 2022 and Joe is one of the leading feature film Digital Intermediate colorists in the world. In this episode, Ryan and Lee go back to Joe's humble beginnings, share some great stories, and talk about the evolution of the telecine transfer up to the digital camera and the changes in technology. It's a fun and fast paced conversation. ———————————— Over the years, Joe has built long- standing collaborations with respected cinematographers including Ellen Kuras, Harris Savides, Ed Lachman, Bradford Young, and Florian Ballhaus. Gawler's recent work includes Disney's "Hamilton," Kelly Reichardt's "First Cow," Ron Howard's "Solo: A Star Wars Story," Greta Gerwig's "Little Women," Robert Eggers' "The Lighthouse," and FX's "Fosse/Verdon." In 2020, "The Lighthouse and" "Little Women" earned nominations at the 92nd Academy Awards for ‘Best Cinematography' and ‘Best Picture', respectively. “Finding the bespoke look for a project drives my process,” says Gawler. He finds that the art of color grading is “a balancing act to push the most compelling images while staying true to the creative intent for all filmmakers involved.” His subtle art of ensuring that every filmmaker in the room is happy with the final image, and delivering a signature look, is what has given him the reputation of a trusted collaborator.

Mike spoke with cinematographer Ed Lachman about some of his earlier films (The American Friend, The Limey) along with his latest work with Todd Haynes, The Velvet Underground.Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike spoke with cinematographer Ed Lachman about some of his earlier films (The American Friend, The Limey) along with his latest work with Todd Haynes, The Velvet Underground.

The scene, the art and the music was something unique...'The Velvet Underground' is a new doc from director Todd Haynes which is available now on the Apple + streaming service.It's a unique look at the history of the band in the pop culture landscape and we talked with cinematographer Ed Lachman about the unique visual style of the film, the significance of the band in the pop culture landscape, his working relationship with Todd Haynes and so very much more...

Academy Award-nominated cinematographer Edward Lachman has been working with director Todd Haynes for decades. Their collaboration has given us many terrific films over the years but never a documentary. That has now changed with the release of "The Velvet Underground," now streaming on Apple TV+. Ed Lachman was kind enough to spend some time talking with us about his work on the film, his relationship with Todd Haynes, growing up during the era in which the documentary covers, and more! Take a listen down below and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

Ed Lachman has collaborated with the director Todd Haynes numerous times; the documentary "The Velvet Underground" is their latest and it premieres on Apple TV+ today and is currently screening at NYC's Film Forum. Lynne Sachs' films —including today's streaming premiere of "Film About a Father Who" are celebrated on the Criterion Channel.

Two films in this year's NYFF lineup take us back to the ‘60s heyday of the New York avant-garde: in the Main Slate, Todd Haynes's The Velvet Underground offers a revelatory portrait of the milieu that gave rise to the eponymous band and its boundary-pushing music, while in Revivals, Ed Lachman's Songs for Drella captures Lou Reed and John Cale in concert, paying tribute to the late Andy Warhol with riveting intimacy. On Sunday, October 3, Film Comment editor Devika Girish and Clinton Krute joined Haynes, Lachman, critic Amy Taubin, and the editors of The Velvet Underground, Affonso Gonçalvez and Adam Kurnitz, for a roundtable talk. In our wide-ranging conversation on the stage of Damrosch Park at Lincoln Center. We touched on the making of the two films, as well as the enduring legacy of the historic moment of artistic innovation they so vividly evoke. Stay tuned to filmcomment.com for more coverage of this year's New York Film Festival, both on the podcast, and in the Film Comment Letter.

On today's episode of our daily NYFF59 podcasts, we're joined by the creative team behind Mississippi Masala, a Revivals selection in this year's New York Film Festival. In this talk sponsored by Turner Classic Movies, writer Jhumpa Lahiri speaks with director Mira Nair, lead actress Sarita Choudhury, and Director of Photography Ed Lachman about this seminal screen romance of the 1990s. In Mississippi Masala, Sarita Choudhury plays Mina, a Ugandan Indian from Kampala whose family leaves Uganda after the implementation of Idi Amin's policy of forcefully expelling all Asians from the country. They wind up in Greenwood, Mississippi, living with relatives and trying to reconcile the trauma of their involuntary exile with assimilating to American culture. Some 17 years pass before Mina falls for a self-employed carpet cleaner, Demetrius (played by Denzel Washington), and their romance puts them in conflict with the local Black and Indian-American communities—not to mention Mina's family. At once a powerful parable and a deeply personal work, Mississippi Masala remains an incisive examination of race relations and the tension between passion and tradition. To learn more and get tickets for this year's NYFF, taking place through October 10 indoors and outdoors throughout NYC, visit filmlinc.org/nyff.

EPISODE 77 - ED LACHMAN - Cinematographer Team Deakins has a great conversation with Cinematographer, Ed Lachman. We talk about many things, including his working with Robby Mueller and what he learned from him, his feeling on operating the camera, and finding your language with the director. He also shares his working process with director Todd Haynes, with whom he has collaborated many times. We go into depth on the movie “Far from Heaven” (one of his collaborations with Todd) from finding the look, the inspiration from Douglas Sirk films, and the use of colors. We also touch on the differences in using gels with film & with digital, his choice of lens, getting the look he wanted in “Dark Waters” and working with Paul Schrader. And much, much more! RECOMMENDED EPISODE VIEWING: Far From Heaven

It's a fun show thanks to writer/director BRIAN BARSUGLIA, who joins us live at the midpoint of the show to talk about a film I'm very excited to be a part of – SOCIAL DISTANCE. Plus, we've got our exclusive prerecorded interview with cinematographer SEBASTIAN THALER talking about his latest film, the riveting nail-biter 7500. First up is our exclusive conversation with SEBASTIAN THALER talking about 7500. This is a film not to be missed and Sebastian's lensing melded with a powerhouse emotional performance by Joseph Gordon-Levitt makes 7500 the riveting, jaw-dropping, edge-of-your-seat thriller that it is. With a pedigree that includes working with his father, European cinematographer Wolfgang Thaler, as well as working as an assistant to the legendary Ed Lachman, the excellence of Sebastian's work comes as no surprise. Take a listen as we dig deep into his process for 7500 as we talk about camera and lens selection, lighting, working within the confinement of an actual airplane cockpit, shooting two crews simultaneously – Sebastian inside the cockpit and a camera operator in the galley area – so that we see the action unfolding essentially in real time on a cockpit monitor, shooting exteriors at the Vienna airport with set-ups on the runways visible through the cockpit windows, the challenges of shooting in the confined space, capturing the emotion and action as it's unfolding, and more. And then it's time for BRIAN BARSUGLIA, writer/director/sound designer and all-around filmmaking guru talking about his latest project, SOCIAL DISTANCE. Regular listeners have already heard me talk about Brian and his last film, IMPACT EVENT. The Universe may not have given me an E.L.E. yet, but Brian did with IMPACT EVENT! And now he tackles SOCIAL DISTANCE. Now in the post-production phase, SOCIAL DISTANCE was filmed during the complete stay at home lockdown in California. Listen as Brian talks about the idea for the story and his approach to filming (and no, it is not a Zoom conference call), developing a story and script to take advantage of the lockdown situation and the accouterments cast members had in their homes which he worked into the storyline and visuals, casting, working with his cast to turn them into "crew" as they did their own lighting, camera set-up, hair, make-up (with some help from family members and friends quarantining with them), editing process of collecting and assembling footage which was sent to Brian by his actor/filmmakers, and so much more. It's an interesting conversation with some great insight for filmmakers currently frustrated by quarantine and craving creative expression. http://behindthelensonline.net http://eliasentertainmentnetwork.com

Matty Libatique is truly one of the greatest cinematographers I have had the chance to work with throughout my career. Matty comes from a Filipino background but was born in New York City in Elmhurst in the borough of Queens. His father, Justiniano Libatique, was an amateur photographer and worked in a film laboratory in New York. As a kid growing up in New York, his dad gifted Matty a Nikon and taught him photography fundamentals at an age when he did not realize he would be using this knowledge for his entire career. During his University years he studied sociology and communications at Cal State Fullerton and then went to AFI for an MA in Cinematography. In this podcast we talked about his journey to become the great cinematographer he is today including his career long collaboration with Darren Aronofsky going back to when they were students at AFI and working with great DP’s like Ed Lachman, a very important mentor for Matty. We also talked about some of his other collaborations with directors like Joel Schumacher, Spike Lee, Jon Favreau, Ernest Dickerson, Bradley Cooper, Rashid Johnson, Mathieu Kassovitz and many others…. As a cinematographer, he is one of the great pioneers of manipulating the photochemical process for extreme dramatic effect by using lab processing techniques like Cross Process & Skip Bleach. He is one of a small group of bold DP’s that were the original trailblazers that experimented frequently with using the cross process and skip bleach process in the work including Malik Sayeed, Harris Savides, Bob Richardson, Darius Khonji and Ellen Kuras to name a few. He has Academy Award nominations for Black Swan and A Star is Born and has many festival wins for films including Spirit Awards for Requiem For a Dream and Black Swan. His parents, Justiniano Libatique and Georgina Porter are immigrants from the Philippines. Matty’s Filipino heritage is very important to him. He speaks and understands Tagalog and comes from French heritage on his paternal side. Throughout his career he has shot many important music videos including the 1998 Jay-Z video Ja Rule & Amil: Can I Get A….. directed by Steve Carr and also the Tracey Chapman video with Julie Dash directing called Give Me One Reason. CONVERSATIONS WITH CHARLIE YOUTUBE: https://tinyurl.com/vrtzr64 SPOTIFY: https://tinyurl.com/wvjfav4 APPLE PODCASTS: https://tinyurl.com/w7n8br2 WEBSITE: www.conversationswithcharlie.com

Today, we’re sharing a conversation following our special screening of the new 4K restoration of The Limey. Steven Soderbergh, Luis Guzmán, Lesley Ann Warren, editor Sarah Flack, and cinematographer Ed Lachman joined Film at Lincoln Center to discuss their radical, fragmentary take on the film noir. Celebrating its 20th anniversary this year, the team talked about the shooting and editing process for the movie, which endures as a seminal work of American film modernism and a love letter to the art cinema of the sixties. Moderated by Film Comment Editor-in-Chief Nicolas Rapold. This podcast is brought to you by Film at Lincoln Center.

Megan Brady (The Simple Cinephile) talks with us about Todd Haynes' sensual romance, Carol. Together breaking down the brilliance of cinematographer Ed Lachman, idiosyncrasies of Rooney Mara and the relevance of melodrama Megan's review of Haynes' new film, Dark Waters: https://thesimplecinephile.com/2019/12/02/dark-waters-review/ Jacks twitter: @jackadraper Clays twitter: @clayfilm100 Megans twitter: @themegbrady --- Send in a voice message: https://anchor.fm/exitingthroughthe2010s/message Support this podcast: https://anchor.fm/exitingthroughthe2010s/support

This week on BEHIND THE LENS we honor International Day for the Elimination of Violence Against Women thanks to our special guest w/d JARET MARTINO and his new film DONNA: STRONGER THAN PRETTY! based on the story of Jaret's own mother, Donna, we go in-depth into his multi-journey crafting this film and telling his mother's story with as much honesty and compassion as possible. From a dedicated cast, many of whom stayed with the film since the first table read more than five years ago, to shooting at 50+ locations, to the magic of shooting with Black Magic's Ursa mini camera, to camera lens selection for establishing distinctive visual tone between decades, and so much more, Jaret more than delivers and discusses his first directorial feature. But first, take a listen to our exclusive interview with director TODD HAYNES as we talk about the powerful "Must See" film of the year - DARK WATERS. The story of attorney Rob Bilott and the Taft Law Firm and their decades-long battle (still going on today) on behalf of the residents of Parkersburg, West Virginia against Dupont Chemical Company. A landmark case that exposed Dupont's actions to the world with their use of the C8 chemical compound in so many products, most particularly Teflon and Teflon-coated products, and their contaminating disposal of it into the waters and lands of Parkersburg, this is a story that has global impact. Bottom line - Dupont KNEW about the dangers of C8, failed to disclose it, and continued to use it. How many of you have or have ever used a Teflon product, be it carpet, clothing, cookware, or more? If the answer is yes, then you have C8 in your body. With a collaborative production team that includes his long-time cinematographer Ed Lachman, along with production designer Hannah Beachler fresh from Wakanda, Todd speaks to the importance of the story and in "getting it right" while immersing the audience in the world of attorney Rob Bilott and the people of Parkersburg through location, lighting, lensing, and production design. http://behindthelensonline.net http://eliasentertainmentnetwork.com

This week on the Film at Lincoln Center podcast, we preview our upcoming Patricia Mazuy retrospective with programmer Madeline Whittle. She discusses the French director's singular filmography, which will be presented starting this Friday with free screening of Travolta and Me followed by The King’s Daughters, starring Isabelle Huppert, and continuing through Sunday with the director in person. See showtimes and get tickets at filmlinc.org/mazuy, plus save with 3+ film package. Then we go to a special conversation from our members-only sneak preview of Dark Waters, featuring writer-director Todd Haynes and actor-producer Mark Ruffalo. In the thrilling drama, inspired by a shocking true story, Ruffalo plays a tenacious attorney who uncovers a dark secret that connects a growing number of unexplained deaths to one of the world’s largest corporations. They duo discuss not over-dramatizing this true story, challenging systems of power, Ed Lachman's cinematography, and more. This podcast is brought to you by Film at Lincoln Center.

Famed Cinematographer Ed Lachman discusses this year's official New York Film Festival poster, which he co-designed with artist JR. This podcast is brought to you by the Film Society of Lincoln Center. Film Lives Here.

Nicolas Rapold talks with cameraman Ed Lachman about Tokyo-Ga by Wim Wenders. Lachman, who has also worked with Werner Herzog, the Maysles brothers and Ulrich Seidl, discusses the specific cinematography of Tokyo-Ga and his collaboration with Wenders. (Recorded November 20, 2017 at EYE Cinema.)

We were so fortunate to be able to speak with cinematography legend, Ed Lachman, ASC this week. Ed has a long career of beautiful work and he joined us to talk specifically about his latest work as DP on Todd Haynes' Wonderstruck, a film shot in both 35mm black and white and color film, each stock performing alongside the actors adding to the cinematic plot, showing you a different point of view. Ed shares his process for shooting this exceptional film.

Two legendary cinematographers discuss their craft and careers at the 55th New York Film Festival. Ed Lachman (CAROL, THE VIRGIN SUICIDES, ERIN BROCKOVICH) discusses his collaboration with Todd Haynes on WONDERSTRUCK. Vittorio Storaro (APOCALYPSE NOW, LAST TANGO IN PARIS) talks about his work on the new Woody Allen Film, WONDER WHEEL. This podcast is brought to you by the Film Society of Lincoln Center. Film Lives Here. www.filmlinc.org

It's another exciting BEHIND THE LENS this week as we welcome writer/director DAVID BURKMAN, plus, hear film critic debbie elias' exclusive interview with cinematographer ED LACHMAN. In his first feature outing, DAVID BURKMAN tackles the Greek system of the college world with HAZE. A "fictional" work structured much like the story of Dionysus in "The Bacchae" by Euripedes, Burkman's approach is hard-charging and at times no-holds-barred shocking but at the same time eye-opening on issues that face us not only on the college campus but within human nature. Filmmakers will appreciate hearing about the logistic challenges David faced as a first-time feature filmmaker over 90 days of shooting during the course of 18 months, as well as score (complete with intonations of ancient Greek melodies and performance by reconstructed ancient instruments), lensing, and with over 300 hours of footage in hand – editing. But first, take a listen to our exclusive interview with cinematographer ED LACHMAN talking about his latest film, the magical and wondrous WONDERSTRUCK. One of the most unique films of this or any other year, adapted by Brian Selznick from his best-selling novel, director Todd Haynes and Lachman bring the worlds of 1927 and 1977 to life through cinematic techniques and image styles of the respective eras, always focusing on the storytelling. And as always with Ed, it's a fascinating interview, filled with plenty of tech talk for the cinematographers and directors listening. http://behindthelensonline.net http://eliasentertainmentnetwork.com

Ed Lachman talks about his poetic realism and his role as Jury President at the 34th Torino Film Festival The post Ed Lachman – Jury President #TFF34 appeared first on Fred Film Radio.

Ed Lachman talks about his poetic realism and his role as Jury President at the 34th Torino Film Festival The post Ed Lachman – Jury President #TFF34 appeared first on Fred Film Radio.

Ed Lachman talks about his poetic realism and his role as Jury President at the 34th Torino Film Festival The post Ed Lachman – Jury President #TFF34 appeared first on Fred Film Radio.

Ed Lachman talks about his poetic realism and his role as Jury President at the 34th Torino Film Festival The post Ed Lachman – Jury President #TFF34 appeared first on Fred Film Radio.

Ed Lachman talks about his poetic realism and his role as Jury President at the 34th Torino Film Festival The post Ed Lachman – Jury President #TFF34 appeared first on Fred Film Radio.

Ed Lachman talks about his poetic realism and his role as Jury President at the 34th Torino Film Festival The post Ed Lachman – Jury President #TFF34 appeared first on Fred Film Radio.

Master cinematographer Ed Lachman discusses working with Todd Haynes, shooting on film vs. digital, composition, and more at the 53rd New York Film Festival. This podcast is brought to you by The Film Society of Lincoln Center. Film Lives Here. www.filmlinc.org Photo by Mettie Ostrowski