Podcasts about Phedon Papamichael

Today I'm over the moon to be talking with Phedon Papamichael about his work on the Bob Dylan biopic "A Complete Unknown". Phedon really made sure we got as much info as we could in the time we had so I'm positive you're gonna love this one. Enjoy! F&R Online ► https://www.frameandrefpod.com Support F&R ► https://www.patreon.com/FrameAndRefPod Watch this Podcast ► https://www.YouTube.com/@FrameAndReference Produced by Kenny McMillan Website ► https://www.kennymcmillan.com Instagram ► https://www.instagram.com/kwmcmillan

Film Roundtable is thrilled to welcome Cinematographer, Phedon Papamichael (Ford v Ferrari, Nebraska) and 1st Assistant Director, and Film Roundtable Co-Founder, Doug Torres (Mr.+ Mrs. Smith, 12 Years a Slave). Together, they discuss their collaboration on James Mangold's upcoming film, A Complete Unknown, the highly anticipated project exploring a pivotal era in Bob Dylan's life.Phedon and Doug share their experience working alongside Mangold, diving into the intricate dynamic between a Cinematographer and 1st Assistant Director, two roles that are essential in bringing a director's vision to life. They discuss the creative and logistical challenges of making A Complete Unknown, offering a rare, behind the scenes, look at their process, from pre-production planning to the on-set execution that shaped the film's visual storytelling.Tune in for a fascinating discussion on collaboration, leadership, and the artistry behind crafting a cinematic world.Enjoy!!From Your Friends at Film RoundtableCheck out this conversation wherever you listen to podcasts and also available to watch on our YouTube channel.

We welcome back Phedon Papamichael, ASC, GSC for the fourth time on The Cinematography Podcast. Cinematographer Phedon Papamichael started preproduction on A Complete Unknown with frequent collaborator, director James Mangold in 2019, before being postponed by the pandemic. They began prepping in summer 2023 and shooting in earnest by the early spring of 2024, which worked well for capturing the changing of the seasons in New York. The long lead time was a huge benefit for both the cast and crew. Phedon and the production team had time to research the time period, create an extensive lookbook of period photos and mull over the script and characters. Actor Timothee Chalamet had time to practice guitar and harmonica and was able to perform most of the songs live. Phedon was very familiar with the music of Bob Dylan, and grew up listening to the artist. He wanted to capture how Dylan evolved and developed as a musician. The set was very intimate, and Chalamet completely absorbed the character of Bob Dylan, frequently watching playback on set, then finding something new with each take. “It was very much this organic process of us capturing and him discovering the character,” says Phedon. “And you could just see it was so enjoyable for every crew member. Everybody was inspired by it.” A Complete Unknown used very few sets and stages, and the production designers transformed two blocks of New York City streets into the 1960's. Phedon shot digitally on the Sony Venice 2 camera, which was then scanned to a film negative and then scanned back to digital. Influenced by the films Klute, The Godfather and The French Connection, he wanted A Complete Unknown to have the Kodachrome look with an earthy color palette. Phedon used lighting that was appropriate for the time period as well, using white and tungsten lights, enhanced with numerous practicals on the set. He embraced the mood of the nightclub scenes, with a single source spotlight hitting the performers on stage and the audience lit with candles on the tables. As the movie progresses into the '60's and Bob Dylan becomes more famous, Phedon began to change the look of the film. “It becomes a little bit more expressionistic, a little more aggressive,” he says. “The stage lights become a little bit bigger, the highlights are a bit hotter, the contrast and shadows are more extreme.” Phedon's ultimate goal as a cinematographer is to stay subtle. “I never want anybody to perceive or feel that I'm lighting something,” he says. “I never want it to feel like there's a craftsman behind it. I always like the photography to just allow us to focus on the character, and really not distract from it.” Find Phedon Papamichael: Instagram @papa2 Hear our previous interviews with Phedon Papamichael on The Trial of the Chicago 7, Ford v. Ferrari, and our live podcast interview. You can see A Complete Unknown currently in theaters. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Venus Optics, Laowa lenses: https://www.venuslens.net/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Award-winning director of photography Erik Messerschmidt, ASC has a natural eye for arresting and spellbinding images, thriving in a role that allows him to combine his love of art, craft and science. Recently, he lensed Devotion for director J.D. Dillard, based on the real-life story of a Black naval officer who befriends a white naval officer during the Korean War, with both becoming heroes for their selfless acts of bravery.He also is currently shooting Michael Mann's biographical film Ferrari, starring Adam Driver, Shailene Woodley, and Penélope Cruz, and recently completed shooting David Fincher's The Killer, starring Michael Fassbender and Tilda Swinton.Previously, Messerschmidt shot Fincher's passion project Mank, chronicling the screenwriter Herman Mankiewicz's turbulent journey to write Citizen Kane alongside Orson Welles. Messerschmidt's meticulous and striking black and white recreation of the period's aesthetic earned him the Academy Award for Best Cinematography, an ASC Award for Outstanding Cinematography in a Feature Film, a BSC Award for Best Cinematography in a Theatrical Feature Release, a BAFTA Award nomination for Best Cinematography, as well as Best Cinematography award nominations from the San Francisco Bay Area Film Critics Circle, the Broadcast Film Critics Association Critics Choice, and the Alliance of Women Film Journalists.In addition, Messerschmidt co-lensed several episodes of the HBO Max original series Raised by Wolves from producer Ridley Scott. He also shot the first and second seasons of Fincher's hit thriller series Mindhunter for Netflix, earning a 2020 Emmy Award nomination for Outstanding Cinematography for a Single-Camera Series (one-hour) for episode 206.With a background in the fine arts world, Messerschmidt honed his skills while working with such renowned cinematographers such as Dariusz Wolski, ASC, Jeff Cronenweth, ASC, Phedon Papamichael, ASC, Claudio Miranda, ASC, and Greig Fraser, ASC. Messerschmidt now lives in Los Angeles and is a member of IATSE Local 600. He is represented by DDA.Enjoy my conversation with Erik Messerschmidt.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Walk the Line is a film directed by James Mangold based on Johnny Cash's book of the same name. The film follows Johnny's life from his early days on a Arkansas cotton farm to his rise of fame at Sun Records. It also showcases the love story between Johnny and June Carter.   Timecodes: 00:00 - DMP Ad :30 - Introduction :46 - The Film Facts 7:52 - The Pickup Line 9:00 - Johhny's childhood 14:08 - Actors portraying villains 18:47 - Stars trying to kick drugs 25:40 - Actors process to get into character 39:19 - Head Trauma 39:51 - Smoochie, Smoochie, Smoochie 40:12- Driving Review 42:10 - To the Numbers   References from the episode: Mid Mangold direct the last Indian Jones film? - Yes Where was Phedon Papamichael? Athens Greece What is the Etymology of stupid? Sweat gloss     Next week's film will be The Sixth Sense (1999)   Subscribe, Rate & Share Your Favorite Episodes! Thanks for tuning into today's episode of Dodge Movie Podcast with your host, Mike and Christi Dodge. If you enjoyed this episode, please head over to Apple Podcasts to subscribe and leave a rating and review. Don't forget to visit our website, connect with us on Instagram, Facebook, LinkedIn, and share your favorite episodes across social media. Email at christi@dodgemediaproductions.com Need help editing or producing your podcast, let us help you. Also, you can get 2 months free on Libsyn click here: https://signup.libsyn.com/?promo_code=SMOOCHIE

Step inside the beloved movie franchise of Indiana Jones with renowned cinematographer Phedon Papamichael of the final film installment, Indiana Jones and the Dial of Destiny. Phedon discusses the challenges of shooting the legendary IP for the big screen and how he paid homage to past works in the series. But first, Deadline's International Editor Nancy Tartaglione breaks down the worldwide performance of Indiana Jones and other summer titles in a box office round-up with Wim and Jim.

A new, exclusive interview with Phedon Papamichael, the director of photography of the latest (and final?) installment of the Indiana Jones franchise. He and director James Mangold had to contend with a myriad of unique challenges on this film, including matching and updating the classic “Indy look,” filming more chase scenes than you can count, and working with cutting edge VFX to “de-age” Harrison Ford, making the 80-year old action star look the same age he was when he shot Raiders of the Lost Ark!“Initially, when we started testing it before principle photography, I was presented with some concerns and restrictions. Like, ‘if you can match the lighting to existing lighting from other [Indiana Jones] movies, it'll apply easier, it'll be more successful.' I go, ‘well, that's gonna be tricky. In every sequence I have to see [if] he has a similar sidelight or a top light?' It turned out that wasn't really a factor. We also didn't realize, the turnaround time ended up being pretty quick. We were getting results back within a few days. We saw that, ‘wow, this is really gonna work!' And we were all very impressed, including Harrison. He was like, ‘it's bizarre seeing yourself.'”— Phedon Papamichael, Director of Photography, Indiana Jones and The Dial of DestinyBe sure to check out Indiana Jones and The Dial of Destiny, in Dolby Vision® and Dolby Atmos®, where available.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Award-winning director of photography Erik Messerschmidt, ASC has a natural eye for arresting and spellbinding images, thriving in a role that allows him to combine his love of art, craft and science. Recently, he lensed Devotion for director J.D. Dillard, based on the real-life story of a Black naval officer who befriends a white naval officer during the Korean War, with both becoming heroes for their selfless acts of bravery. He also is currently shooting Michael Mann's biographical film Ferrari, starring Adam Driver, Shailene Woodley, and Penélope Cruz, and recently completed shooting David Fincher's The Killer, starring Michael Fassbender and Tilda Swinton.Previously, Messerschmidt shot Fincher's passion project Mank, chronicling the screenwriter Herman Mankiewicz's turbulent journey to write Citizen Kane alongside Orson Welles. Messerschmidt's meticulous and striking black and white recreation of the period's aesthetic earned him the Academy Award for Best Cinematography, an ASC Award for Outstanding Cinematography in a Feature Film, a BSC Award for Best Cinematography in a Theatrical Feature Release, a BAFTA Award nomination for Best Cinematography, as well as Best Cinematography award nominations from the San Francisco Bay Area Film Critics Circle, the Broadcast Film Critics Association Critics Choice, and the Alliance of Women Film Journalists.In addition, Messerschmidt co-lensed several episodes of the HBO Max original series Raised by Wolves from producer Ridley Scott. He also shot the first and second seasons of Fincher's hit thriller series Mindhunter for Netflix, earning a 2020 Emmy Award nomination for Outstanding Cinematography for a Single-Camera Series (one-hour) for episode 206.With a background in the fine arts world, Messerschmidt honed his skills while working with such renowned cinematographers such as Dariusz Wolski, ASC, Jeff Cronenweth, ASC, Phedon Papamichael, ASC, Claudio Miranda, ASC, and Greig Fraser, ASC. Messerschmidt now lives in Los Angeles and is a member of IATSE Local 600. He is represented by DDA.Enjoy my conversation with Erik Messerschmidt.

Welcome...to the Graveyard Show Classic. This is a look-back at my interview with director Phedon Papamichael, who joined me to discuss his film From Within, which was included in the 2009 After Dark Horrorfest (8 Films To Die For). We discussed the making of his film, and his career as one of the great Directors of Photography. It was truly an honor to have him on my podcast. This was one of several interviews I did when the After Dark Horrorfest films were released, and a good interview to follow this with was my 2009 interview with Adam Gierasch (Tombstone 3), whose film Autopsy was included in the After Dark Horrorfest that year. The Graveyard Show Podcast can be found on Apple Podcast, Anchor, Spotify, Google Play, and wherever podcasts are available. And as you exit the graveyard I would like to remind you to please…lock the gate behind you…we wouldn't want anyone to get out. Until next time...

Cinematographer Flavio Labiano doesn't consider himself an artist with a capital “A” but more of a craftsperson. To him, cinematography is a craft that you learn by making mistakes and taking risks, like any other craft that you hone and improve over time. On Disney's Jungle Cruise, Flavio found the planning and pre-production stages of the huge-scale movie to be especially challenging. It was about 100 days of planning, with two different sets- one in Hawaii and one in Atlanta, Georgia, and with the second unit shooting footage in the Amazon to use as background plates. All the exterior tank work was done in front of a blue screen in a parking lot in Atlanta. The town of Porto Velho, where the jungle cruise adventure begins, was mainly shot in Hawaii. Flavio paid close attention to the orientation of the sun in order to match the set in Hawaii with the set in Atlanta. He also had to match the hard sunlight in the South to the sunlight in Hawaii, and the crew had to deal with the constant interruptions of summer afternoon rainstorms in Georgia. Flavio and Jungle Cruise director, Jaume Collet-Serra, have worked together on several films including The Shallows, another movie that takes place mostly in water. Flavio grew up in Spain, then moved to Los Angeles to attend AFI. He found his first film jobs working for Roger Corman's studio alongside Wally Pfister, Phedon Papamichael, and Janusz Kaminski. Flavio moved back to Spain for film work and has made most of his career there with movies such as The Day of the Beast, which was a huge commercial success in Spain, and Timecrimes, an exciting and mind-bending thriller. Shortly after Timecrimes, he and fellow Spaniard, director Jaume Collet-Serra began working together. Influenced by director Alfred Hitchcock, who enjoyed making thrillers with characters who are celebrities, the two made Nonstop and Unknown with Liam Neeson. You can watch Jungle Cruise on Disney+ Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep135/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Special: The Cinematography Podcast- War Stories Vol. 7 In our seventh War Stories Special, we feature eleven guest's harrowing, hilarious, heartbreaking or heartwarming stories they had while on set, or a formative career experience that led them to the film industry. Find full interviews with each of our featured guests in our archives! Both cinematographers Wally Pfister, ASC and Phedon Papamichael, ASC have war stories about working on Roger Corman films in their early careers; Ross Emery, ACS talks about the groundbreaking experience of shooting bullet time for The Matrix; Shane Hurlbut, ASC on how he was convinced to shoot Drumline; Alice Brooks on how she made her decision to become a DP; Robbie Ryan, BSC, ISC reflects on experiencing personal tragedy while working on The Favourite; Christian Sebaldt, ASC had to get extremely creative with lighting a dim military barracks; Lachlan Milne, ACS, NZCS, on shooting Minari in extreme summer heat; Armando Salas, ASC also has a story on filming in high temperatures; cinematographer Jas Shelton talks about working with actor John C. Reilly on Cyrus; and finally, director and cinematographer Brandon Trost's story about meeting Lorne Michaels in a pre-production meeting for MacGruber. Do you have a War Story you'd like to share? Send us an email or reach out to us on Facebook, Twitter, or Instagram! Find out even more about this episode, with extensive show notes and links: http://camnoir.com/warstories7/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Instagram: @thecinepod Facebook: @cinepod Twitter: @ShortEndz

EPISODE 128 - PHEDON PAPAMICHAEL - Cinematographer Team Deakins speaks with cinematographer, Phedon Papamichael (TRIAL OF THE CHICAGO 7, FORD VS FERRARI, NEBRASKA). In this episode, Phedon shares his experiences working with James Mangold and Alexander Payne and we discuss what makes those relationships so successful. We learn that Phedon took up photography at a very early age and together we talk about his transition from stills to the moving image and shooting his first short film with one of John Cassavetes' cameras! Phedon tells us about his time shooting for Roger Corman's company and how free he was to experiment stylistically. Phedon talks about collaborating with Aaron Sorkin on their most recent film Trial of the Chicago 7 and the challenges of making a courtroom drama visually engaging. Phedon shares some great advice for young filmmakers, but you'll have to tune in to find out! Don't miss it!

We continue our 2021 Oscars coverage with the nominees for Best Cinematography! We have once again invited every nominee to join us, and we were very pleased to sit down with three inspiring cinematographers: Sean Bobbitt, Erik Messerschmidt, and Phedon Papamichael. (Unfortunately, the other two nominees, Dariusz Wolski and Joshua James Richards, were unable to find time, as they are on location filming their next projects.) Here's a table of contents, in case you'd like to jump around: 00:01:46 - JUDAS AND THE BLACK MESSIAH - Sean Bobbitt, B.S.C. 00:21:37 - MANK - Erik Messerschmidt, A.S.C. 00:35:23 - THE TRIAL OF THE CHICAGO 7 - Phedon Papamichael, A.S.C. Many thanks to Sean, Erik, and Phedon for joining us and congratulations to all of the nominees! Here they are, once again in alphabetical order: JUDAS AND THE BLACK MESSIAH - Sean Bobbitt, B.S.C. MANK - Erik Messerschmidt, A.S.C. NEWS OF THE WORLD - Dariusz Wolski, A.S.C. NOMADLAND - Joshua James Richards, A.S.C. THE TRIAL OF THE CHICAGO 7 - Phedon Papamichael, A.S.C. We would also like to thank the folks at Warner Bros, Netflix, and the Academy of Motion Pictures Arts and Sciences for helping us pull these interviews together (in record time!) and for all the wonderful film clips.  Don't miss these incredible films: https://www.judasandtheblackmessiah.com/ (JUDAS AND THE BLACK MESSIAH) https://www.netflix.com/mank (MANK) https://www.universalpictures.com/movies/news-of-the-world (NEWS OF THE WORLD) https://www.hulu.com/nomadland-movie (NOMADLAND) https://www.netflix.com/title/81043755 (THE TRIAL OF THE CHICAGO 7) We have one more episode just like this one — for Best Animated Feature — coming up. So if you haven't already, please subscribe to Sound + Vision Lab: The Dolby Institute Podcast https://linktr.ee/dolbyinstitute (wherever you get your podcasts). You can also check out the https://youtube.com/dolby (video) for this episode. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com/ (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). Movie buff? Follow Dolby Cinema on https://www.instagram.com/dolbycinema/?hl=en (Instagram). Apple Podcasts Episode Summary: It's an honor just to interview the nominated. SoundCloud Show Notes: We continue our 2021 Oscars coverage with the nominees for Best Cinematography! We have once again invited every nominee to join us, and we were very pleased to sit down with three inspiring cinematographers: Sean Bobbitt, Erik Messerschmidt, and Phedon Papamichael. (Unfortunately, the other two nominees, Dariusz Wolski and Joshua James Richards, were unable to find time, as they are on location filming their next projects.) Here's a table of contents, in case you'd like to jump around: 00:01:46- JUDAS AND THE BLACK MESSIAH - Sean Bobbitt, B.S.C. 00:21:37 - MANK - Erik Messerschmidt, A.S.C. 00:35:23 - THE TRIAL OF THE CHICAGO 7 - Phedon Papamichael, A.S.C. Many thanks to Sean, Erik, and Phedon for joining us and congratulations to all of the nominees! Here they are, once again in alphabetical order: JUDAS AND THE BLACK MESSIAH - Sean Bobbitt, B.S.C. MANK - Erik Messerschmidt, A.S.C. NEWS OF THE WORLD - Dariusz Wolski, A.S.C. NOMADLAND - Joshua James Richards, A.S.C. THE TRIAL OF THE CHICAGO 7 - Phedon Papamichael, A.S.C. We would also like to thank the folks at Warner Bros, Netflix, and the Academy of Motion Pictures Arts and Sciences for helping us pull these interviews together (in record time!) and for all the wonderful film clips.  Don't miss these incredible films: JUDAS AND THE BLACK MESSIAH - https://www.judasandtheblackmessiah.com/ MANK - https://www.netflix.com/mank NEWS OF THE WORLD -...

Aaron Sorkin's Golden Globe-nominated film THE TRIAL OF THE CHICAGO 7 perfectly balances incredible visuals with stunning performances. Cinematographer Phedon Papamichael ASC comes on to discuss working with Sorkin and the importance daylight plays when filming the courtroom scenes. Phedon and Go Creative Show host, Ben Consoli, discuss how the visual approach contrasts between the courtroom and riots, his obsession with motivated camera movement, filming with up to 3 cameras at once on a tight schedule, and more! Subscribe Now! What you will learn in this episode Working with Aaron Sorkin and overview on visual approach (02:24) Why windows played a pivotal role in the courtroom (13:09) The film’s fast-paced shooting schedule (20:55) Is a film like this important to be accurate? (25:01) Using natural sunlight to your advantage for exterior scenes (29:56) Shooting multiple cameras at once and getting coverage (34:59) Keeping camera movement motivated (49:11) How virtual production can be valuable (53:29) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links THE TRIAL OF THE CHICAGO 7 trailer THE TRIAL OF THE CHICAGO 7 IMDb THE TRIAL OF THE CHICAGO 7 on Netflix Follow Our Guest Phedon Papamichael ASC’s IMDb Phedon Papamichael ASC’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Phedon Papamichael is a master cinematographer working with the likes of James Mangold, Alexander Payne, Gore Verbinski, Jon Turteltaub and more. On this episode of Open Dialogue, Papamichael offers an in-depth look into the making of Aaron Sorkin’s “The Trial of the Chicago 7.” We discover his favorite scene in this Netflix release and some challenges along the way. Host, Noel T. Manning II also asks Papamichael to share some thoughts about his work with Payne, Mangold and Verbinski and life during the pandemic. Manning previously interviewed Papamichael for his work on Ford v Ferrari.

On this Spotlight Episode of More Like This, we're featuring the film, The Trial of the Chicago 7. Piecing together some of the most dynamic and insightful interviews from the Official Trial of the Chicago 7 Podcast, we take a deep dive into the creative process of the acclaimed film. Krista Smith speaks with director Aaron Sorkin in detail about his inception process, as well as Yahya Abdul Mateen II (Bobby Seale), Sacha Baron Cohen (Abbie Hoffman), Jeremy Strong (Jerry Rubin), Eddie Redmayne (Rom Hayden), Alan Baumgarten (film editor), Phedon Papamichael (director of photography), Shane Valentino (production designer), Susan Lyall (costume designer) and Lawrence O’Donnell (political commentator and author). You may now press play.

Ford v Ferrari, Nebraska, Downsizing and 3:10 to Yuma cinematographer Phedon Papamichael joins us, to discuss the future of movies, using a blue light in a black and white film, Hollywood's reluctance around b&w films, working with camera cars, the incentives around doing flashy rather than naturalistic cinematography, and much more. Follow Phedon: instagram.com/papa2 Follow the show: instagram.com/candelapodcast Follow Alan: instagram.com/alan_schaller Follow Chris: instagram.com/christopherhooton        

These cinematographers discuss their craft and recent work.

If anyone on this planet is a natural born cinematographer, it might just be Chris Menges. His earthiness and pragmatism combined with his uncanny, innate sensibility for the moving image are what makes his films special: Kes, The Killing Fields and The Mission, to name just a few. If you haven't seen them, then trust us that they are among the most beautiful movies ever made. Chris Menges has seen a lot of adventure; he's been all over the world, and he has stories. In this wide-ranging discussion we talk about the photographer Henri Cartier-Bresson's influence on Menges' work and the importance of "walking the streets." From his early days in documentary to his later work with directors like Neil Jordan, Stephen Frears, Stephen Daldry and Sean Penn, Menges is a true master of observation... and he's picked up a couple Oscars along the way. Pay your respects and listen to the man speak! For another conversation with a great DP, check out our recent chat with Phedon Papamichael. Please email us any questions at ask@nofilmschool.com!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Phedon Papamichael's career as a cinematographer goes back to the 80's, but he's still a go-to DP for the best filmmakers in the business. You might call him an “actor's cinematographer” or a stylistic chameleon. Phedon talks about his approach to the craft: rather than trying to put his visual stamp on a movie, his goal is to serve the story and overall vision. He compares his experiences working with Alexander Payne, George Clooney, Aaron Sorkin and James Mangold -- and what it was like juggling the massive personalities on the set of Sorkin's The Trial of the Chicago 7. Phedon and recalls his early days shooting stripper-centered B-movies under Roger Corman's tutelage — with Wally Pfister and Janusz Kaminski as his camera crew. This is a masterclass in what it means to be an A-list cinematographer. Don't miss this one: Phedon is the man. Please email us any questions or comments at ask@nofilmschool.com!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Wally Pfister grew up loving movies, and couldn't wait to become a filmmaker. The son of an ABC news journalist, Wally got his start as a news production assistant in Los Angeles, and he worked his way up to become a news cameraman. He attended American Film Institute, where he met fellow filmmakers Janusz Kaminski and Phedon Papamichael. Together they began working for Roger Corman's Concorde/New Horizons production company based in Venice, CA, cranking out as many as twelve B-movies per year. Wally would leave the studio literally splattered in fake blood, but he knew low-budget filmmaking work was essential for having the freedom to learn lighting and shooting while on the job. Even with his prestigious degree from AFI, Wally knew it didn't make him a filmmaker- he still needed to learn and hone his craft before moving on to bigger projects. Those opportunities came once Phedon Papamichael brought him on as a camera operator for Phenomenon and While You Were Sleeping. Wally loved the independent films of the 1990's, and was happy to work as director of photography for The Hi-Line, a well-received indie feature that won awards at several film festivals. Director Christopher Nolan saw the film, and approached Wally to shoot Memento. Memento blends black and white with color cinematography, to show the main character's broken memory as he tries to piece together who killed his wife. Nolan had purposefully scripted it so that the color sequences shown in the film are in reverse order while the black and white scenes are chronological. Wally and Chris Nolan both preferred taking a naturalistic approach to lighting and camerawork, and Wally's experience of working fast enabled them to shoot in just 25 days. Insomnia was a big jump for Wally and Christopher Nolan into a bigger budget movie, especially with stars such as Al Pacino and Robin Williams attached. This time, Wally had the budget, the time and the ability to make a great movie. Insomnia uses light rather than darkness as a way to build tension- it takes place in midsummer Alaska, when the sun never sets. Wally used key lighting in certain scenes to enhance the performance of Pacino, whose detective character is quite literally hiding from the light, as his guilt and exhaustion spirals down into madness. The next project Christopher Nolan and Wally collaborated on was a huge Hollywood movie: Batman Begins, which relaunched the Batman franchise after nearly ten years. Even though Batman is a superhero/comic book movie, Nolan still wanted to take a gritty and naturalistic approach- he never wanted the cinematography to get in the way. Wally kept the movie dark and rough, rather than glossy and stylized in contrast to the previous Batman movies. Very little of Batman Begins used computer generated visual effects- Chris Nolan prefers to do all effects in-camera when possible and used models and miniatures, as in the train derailment sequence. For The Prestige, the production crew scouted locations in Los Angeles, and found old theaters and the Universal backlot to make it seem like Europe at the turn of the century. Again, Nolan wanted The Prestige to look natural and loose, with much of the film hand-held, even when Wally was on a crane. Wally used lanterns and natural light to illuminate most scenes, and every magic trick was done in-camera, with no special effects. The Prestige earned Wally his first Academy Award nomination. Listen for Wally Pfister, Part 2, coming next week! He talks about Inception, Moneyball, The Dark Knight Rises, Trancendence and more! Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep101/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Phedon Papamichael's latest project is The Trial of the Chicago 7, written and directed by Aaron Sorkin. The bulk of the story centers on the 1969 trial of seven men accused of inciting a riot in the park outside of the 1968 Democratic National Convention in Chicago. In Phedon's view, a film is actually made three times: it's conceived in the writing process, developed during principal photography, then reinvented and finalized in the editing process. When working with a director and writer like Aaron Sorkin, the way the film is scripted is exactly what he wants to see on the screen. The person speaking must be on camera, and specific shots are needed to sync with the rhythm of his words, like a poem. Sorkin is not a technical filmmaker, and after their initial meeting, Phedon knew Sorkin would rely heavily on him for creating the visuals. Since the majority of the action takes place in the courtroom, Phedon had to generate visual interest, making sure they had the right lenses and angles to enhance the drama, and to get good reaction shots of the jury and spectators. He used the lighting within the courtroom to enhance the moods and tension, and adjusted the light coming through the windows to reflect the changing seasons. When shooting the protests in the park and the violent clashes with the police, the camera crew went hand-held documentary style. Some of the footage from the protests was actually intercut with real footage taken from a film called Medium Cool, a combination documentary/fiction film by famed cinematographer Haskell Wexler, who shot actual footage of the riots in the park from the 1968 Democratic National Convention. You can watch The Trial of the Chicago Seven streaming now on Netflix. Find Phedon Papamichael: https://www.phedonpapamichael.com/ Instagram: @papa2 Sponsored by Hot Rod Cameras: www.hotrodcameras.com IT'S A BOOK GIVEAWAY! Enter to win the Video Palace book- Video Palace: In Search of the Eyeless Man Collected Stories- signed by our host, Ben Rock, who also authored one of the stories! The book expands the world of the Video Palace podcast that Ben directed for Shudder. http://videopalace.shudder.com/ TO WIN: SUBSCRIBE to our YouTube channel, LIKE and COMMENT on the "How To Vote" breakdown we just posted! We will randomly select a winner from the comments. We're expanding and adding to our YouTube channel, so look for new content there, too! https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep96/ Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Acclaimed cinematographer Phedon Papamichael (Sideways, Ford v Ferrari) returns to our podcast to discuss his latest project - the highly acclaimed drama The Trial of the Chicago 7 written and directed by Aaron Sorkin. Support this podcast

Acclaimed cinematographer Phedon Papamichael (Sideways, Ford v Ferrari) returns to our podcast to discuss his latest project - the highly acclaimed drama The Trial of the Chicago 7 written and directed by Aaron Sorkin. Support this podcast

Jacqueline Dalunde is the founder and Executive Producer of apparentlyjack, a production and development company based in LA. I've known Jack for quite some time and feel fortunate to consider her a friend and ally. She was one of my first interviews when I started the pod. I was a HOT MESS. Talk about mistakes. I had major technical issues, the room we chose was echo AF. I felt really embarrassed. Think: overly dramatic/existential "why even bother doing this" vibes.⁣⁣ ⁣⁣ Yet, she stayed cool, calm, and collected. Classy lady. ⁣⁣ We decided to re-record, however, mostly because it's been a year and a half since and so much has changed in her life.⁣⁣ ⁣⁣ She now lives in Sweden, which proved serendipitous timing. Nordic countries have been able to keep production active during Covid-19, so she gives us an insider look as to what that means. Her background spans almost every aspect of the filmmaking process from development to delivery, in both the branded and Independent film/television spaces. She got her start in 2011 working with producer Chris Gibbin. Together, they collaborated with top cinematographers in the business (Wally Pfister, Janusz Kaminski and Phedon Papamichael) on a content series called Advanced Filmmaking. Some time later, she became Head of Production at LA-Based Agency Something Massive. She built the video & photo departments from the ground up while developing/producing features, shorts and branded content for Fortune 500 companies. With 10+ years in the film and advertising industries, Jacqueline decided to go out on her own to form the content studio apparentlyjack. It’s mission is to produce and develop cinematic storytelling and storyline driven content in a variety of formats. During our hour together, Jack shines a bright light on the importance of talking to each other. Seems obvious, but you'd be surprised.⁣⁣ It is only through discussion (and action), that we can de-stigmatize mental health, grow from our mistakes, and get closer to achieving inclusion and gender parity in front and behind the camera.⁣⁣ Can’t wait to hear what you think of this week’s episode! Beijos, Caca  

Academy Award® Nominee, Phedon Papamichel (Walk The Line, Nebraska, Ford v Ferrari) is a Greek cinematographer, director, and painter. Phedon chats with Portbox about his career, from his early collaborations with Jon Turteltaub, followed by frequent collaborations with directors like Alexander Payne (Sideways) and James Mangold (Ford v Ferrari). Madhav asks Phedon about Phedon's approach to interpreting a screenplay, and Phedon tells the story of how collaborating with directors who have a similar taste as he shaped his career. The two talk about how influences can elevate one's storytelling; Phedon recalls how Johnny Cash's roadie informed his decisions while shooting Walk The Line. 

Phedon Papamichael Jr. grew up surrounded by creativity. His father was a Greek cinematographer best known for working with John Cassavetes. Through various influences, Papamichael got involved with photography and then filmmaking. The cinematographer is now known for working on movies like ‘Sideways,’ ‘Walk the Line,’ ‘The Weather Man,’ ‘3:10 to Yuma,’ ‘W.,’ ‘The Descendants,’ ‘Nebraska,’ ‘Downsizing,’ and now, ‘Ford v Ferrari.’ In this interview, Papamichael talks film school through with stripper vampire films, why he shoots in a traditional sense, why he didn’t initially connect with the script for ‘Sideways,’ how luck plays into any career, and his involvement with the new Aaron Sorkin film. For more details on ‘Ford v Ferrari,’ listen to Episode 195 with screenwriter Jason Keller and Episode 192 with stunt coordinator Darrin Prescott. If you enjoyed this interview, join millions of viewers for the new YouTube video essay series, Creative Principles, which dissects new films, series, and more: bit.ly/2FARJz5

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

Go behind the scenes of Ford v Ferrari with cinematographer Phedon Papamichael. Phedon and Go Creative Show host, Ben Consoli, discuss filming the race scenes practically, the benefits of filming on the fly vs using storyboards, the challenges of shooting in an functioning airport, and more! Subscribe Now! What you will learn in this episode Filming race scenes practically (05:28) Quickly filming on the fly vs using storyboards (12:16) Using 4 cameras at once to film inside the race cars (22:39) How they made the cars look like they’re driving fast (31:55) Filming the rain scenes (38:33) Lighting the film (41:30) Filming at a functioning airport Phedon’s relationship with camera operators (52:53) How Grand Prix was a source of inspiration (56:46) Will the Cinerama make a comeback? (58:07) Where Phedon wants to see the film industry to go (01:01:00) And more! Show Links Ford v Ferrari IMDb Ford v Ferrari trailer Ford v Ferrari behind the scenes Go Creative Show is supported by: Premium Beat Rule Boston Camera Hedge Shutterstock   Premium Beat Song of the Week Be Big by Reaktor Productions Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Follow Our Guest Phedon Papamichael’s Instagram Phedon Papamichael’s website Phedon Papmichael’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Matt Russell Gain Structure Sound Twitter

Phedon Papamichael is a long-time cinematographer and has worked on films as varied as Nebraska, Cool Runnings, Phenomenon, Sideways and Walk the Line. Today he talks about his work on the James Mangold film Ford v Ferrari. Noel T. Manning II interviews filmmakers like this on Cinemascene & Meet me at the Movies courtesy of WGWG.org & C19 TV.

Hold on to your hats boys and girls because this week on BEHIND THE LENS we're going from the race track of 1960's Le Mans to a modern-day Western thanks to GRAHAM PHILLIPS and PARKER PHILLIPS, and our exclusive interview with PHEDON PAPAMICHAEL. First up, take a listen to our prerecorded exclusive interview with Oscar-nominated cinematographer PHEDON PAPAMICHAEL as he puts the pedal to the metal with FORD V FERRARI. Focusing on the friendship between legendary automotive designer Carroll Shelby and British race car driver Ken Miles, the film is set against the backdrop of the battle between automotive titans Henry Ford Jr. and Enzo Ferrari as Ford readied itself to compete against Ferrari's award-winning racing team at Le Mans in 1966. Key to the high octane success of the film is Phedon's work as he puts the moviegoer in the driver's seat of the race car, making us feel the car corner on rails or catch the sun flares rounding critical course turns. And then we shift gears as we welcome GRAHAM PHILLIPS, "Prince Eric" himself from Disney"s "Little Mermaid Live!" tv special, and his brother PARKER PHILLIPS to talk about their new feature collaboration THE BYGONE. Co-written and co-directed by the brothers with Graham also starring in the film, THE BYGONE is an ode to the old westerns but more truthful in fact and events. Listen as we discuss the similarities of the oil pipelines and fracking occurring in North Dakota today with the Gold Rush of old while exploring the fate of Native Americans both then and now with the fate of the "Cowboys and Indians" tied together. With this serving as a backdrop to the film, with this story Parker and Graham explore the lawlessness that comes with the territory of greed and how it turns brother on brother and opens the door to the sex trade in the remote oil regions. http://behindthelensonline.net http://eliasentertainmentnetwork.com

Host Paul Booth interviews Oscar-Nominated Cinematographer (Nebraska) about his upcoming release Ford v. Ferrari with Director James Mangold.  Ford v. Ferrari debuted at the Toronto International Film Festival in Sep., stars Christian Bale, Matt Damon, and Caitriona Balfe. The film, directed by James Mangold (Walk the Line), focuses on the audacious attempt of the Ford racing team to dethrone Enzo Ferrari's race track domination at the 24-hour race of Le Mans in 1966

We are mixing it up this week on the podcast.  Normally this would be a breakdown episode but we were lucky enough to get to chat to cinematographer Phedon Papmichael ASC GSC about his latest collaboration with James Mangold For vs. Ferrari. I am a big phan of Phedon's and the two trailers out now for […] The post The Wandering DP Podcast: Episode #195 – Phedon Papamichael ASC, GSC appeared first on Cinematography Podcast & Tutorials.

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In this podcast, Gemma Creagh talks to Jaro Waldeck about filmmaking and her career in cinematography. Jaro talks about learning her craft, training opportunities and getting into the industry. Jaro is a DOP with Master of Arts in Cinematography from FAMU Prague and a Bachelor of Arts in Cinematography from Columbia College Chicago. She interned with Academy Award nominee Phedon Papamichael, ASC, and won several Best Cinematography Awards in Ireland and Scotland. Jaro has worked on projects ranging from short narrative and documentary films to music videos, TV documentaries and commercials and promos. She is a member of Czech Society of Cinematographers and a board member of Women in Film and Television Ireland. As well as focusing on lighting and camera operating, Jaro has four years combined experience teaching cinematography and supervising student film-shoots. Her skills and experience involve working with all modern digital semi-pro and fully professional cameras and workflows, 35mm and 16mm film stocks and cameras, lighting and camera support equipment, colour corrections, location scouting, technical script analysis, storyboarding and shot list creation. More information on her website www.jarowaldeck.com http://filmireland.net/

SPECIAL PODCAST- Phedon Papamichael, ASC - LIVE at Hot Rod Cameras "Cine Beer" Summer Bash! Cinematographer Phedon Papmichael, ASC In our first ever LIVE podcast Academy Award nominated cinematographer Phedon Papmichael, ASC discusses his collaborations with director's of Alexander Payne, Oliver Stone, James Mangold.  Phedon also discusses his early career working for Roger Corman and much more.   Don't miss it! Watch the Podcast Podcast Credits: Episode Sponsors Hot Rod Cameras Editor in Chief:  Illya Friedman Host: Ben Rock Producer: Alana Kode Subscribe to the Podcast on iTunes or click on the link below to listen here

After studying with Phedon Papamichael and attending AFI, Joe has shot several short and feature films, television shows, web series, and commercials. Joe's most recent project is the stop-motion animated feature film, Anomalisa. Anomalisa is the story of a man crippled by the ordinariness of his life who then experiences something extraordinary upon meeting a young woman. Anomalisa premiered at the Telluride and Toronto International Film Festival and has been nominated for several awards including a Golden Globe and an Academy Award for best animated feature. 

The Head Mime examines the work of cinematographer Phedon Papamichael.

Born in Athens, Greece, and educated in Germany, Phedon moved to New York in 1983, working as a photojournalist, and eventually crossing over into cinematography. Phedon now counts over 40 feature films to his credit as Director of Photography. Some of his earlier work includes Dance of the Damned, Cool Runnings, and Phenomenon. His more recent credits include Walk the Line, The Weather Man, The Pursuit of Happyness, 3:10 to Yuma, and Oliver Stone's W. Phedon has shot several films for Alexander Payne, including Sideways, The Descendants, and most recently Nebraska, about an aging father travelling from Montana to Nebraska with his estranged son in order to claim a million-dollar Sweepstakes Marketing prize. Nebraska along with The Descendants and Sideways were nominated and won several Oscars and Phedon was nomimated for an Oscar for Nebraska for Best Cinematography. Most recently, Phedon shot The Monuments Men, directed by and starring George Clooney, about a World War II platoon that rescues art stolen by the Nazis.

Nebraska cinematographer Phedon Papamichael, ASC discusses working with Alexander Payne, the benefits of shooting black-and-white in the digital age and shooting a road movie in real locations with many local actors.

Nebraska cinematographer Phedon Papamichael, ASC discusses working with Alexander Payne, the benefits of shooting black-and-white in the digital age and shooting a road movie in real locations with many local actors.

Phedon Papamichael, ASC discusses the complexities of shooting the big-budget, effects-filled Tom Cruise movie, Knight and Day, comparing this large and highly technical shoot with some his previous, smaller films.

Phedon Papamichael, ASC discusses the complexities of shooting the big-budget, effects-filled Tom Cruise movie, Knight and Day, comparing this large and highly technical shoot with some his previous, smaller films.