Team Deakins

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

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

SEASON 2 - EPISODE 187 - John Hillcoat - Director In this extended episode of the Team Deakins Podcast, we speak with director John Hillcoat (GEORGE & TAMMY, THE ROAD, THE PROPOSITION). Violence is often at the center of John's films, and we spend much of our conversation with him discussing its portrayal in his work, its ubiquity in the real world, and his fascination with its aftermath and consequences. Later, during our discussion of THE PROPOSITION, John reveals the source of inspiration for the project, how the film lost and then found financing, and why they shot it in the Australian Outback in the middle of the summer. John also relives the nightmare of fighting the Weinsteins over the cut of THE ROAD, and we learn how shooting the film in-camera protected it from outside meddling. Towards the end of our conversation, John describes the differences between working in television versus film, and he shares how he tried to use cinematic language within the limited series GEORGE & TAMMY. John also shares how he got his start shooting music videos in his home country of Australia, and we learn about his enduring quest to finally make the BLOOD MERIDIAN movie. - This episode is sponsored by Aputure & Picture Shop

SEASON 2 - EPISODE 186 - Peter Bradshaw - Film Critic In this episode of the Team Deakins Podcast, we speak with Peter Bradshaw, the film critic at The Guardian. We normally talk about making movies with our guests, but with Peter, we talk about watching and reviewing them instead. We learn how Peter became a film critic after being successfully sued by conservative MP Alan Clark for satire, and he shares how he thinks about criticism in general. Peter reflects on the learning curve of becoming a film critic, and we discuss how his job has changed with the proliferation of social media. Later, Peter shares how he balances the subjectivity of his own personal point-of-view of a film with the objective facts surrounding it in his reviews, and we learn which movies Peter realized, years later, he was wrong about. Peter also makes the case of cinema's competitiveness in modern life, and he shares which movies he watched growing up that sparked his love and appreciation for the movies. Plus, we reflect on living in a world where everything and everyone gets reviewed. - This episode is sponsored by Picture Shop & Aputure 

SEASON 2 - EPISODE 185 - Malgosia Turzanska - Costume Designer In this episode of the Team Deakins Podcast, we speak with costume designer Malgosia Turzanska (HAMNET, PEARL, AIN'T THEM BODIES SAINTS). Malgosia's life in film began after seeking refuge from a chemistry exam in a movie theater, and, with an assist from her friend, she soon found herself helping director Agnieszka Holland (Season 1, Episode 144) on JANOSIK. Throughout the episode, Malgosia uses specific experiences from the films she's worked on to discuss her design process. During our discussion of HAMNET, Malgoisa reflects on collaborating with her fellow countryman and cinematographer Lukasz Zal (Season 2, Episode 102), and she reveals the character details she focused on during the development of the costumes for Agnes and William Shakespeare, played by Jessie Buckley and Paul Mescal (Season 2, Episode 44). She later discusses how she works with actors in the fitting room, and she shares how they all might put their heads together to find the character. Plus, Malgosia reveals how cold emailing director David Lowery (Season 2, Episode 60) led to her working on AIN'T THEM BODIES SAINTS early in her career. - Recommended Viewing: HAMNET - This episode is sponsored by Aputure & Picture Shop

SEASON 2 - EPISODE 184 - Fiona Crombie - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Fiona Crombie (HAMNET, THE FAVOURITE, SNOWTOWN). Despite being raised on her father's film sets in Australia, Fiona didn't enter the family business until she dropped out of law school. Throughout our conversation, we discuss Fiona's general design process, her strategies for making the most of the given resources on a film, her typical day-to-day schedule during production, and how she communicates with her fellow filmmakers. Having worked on many period films, Fiona shares with us how she balances the realities of the budget with the intended vision of a film, and she reveals how she and the crew on MACBETH justified the choices they had to make under strict limitations. Fiona later reflects on working under close watch at Hatfield House on THE FAVOURITE, and she discusses collaborating with cinematographer Robbie Ryan (Season 1, Episode 148) and living a production designer's dream: seeing the whole set in a single shot. We also discuss Fiona's work in HAMNET, and she reveals the key piece of direction she received from director Chloé Zhao that unlocked the design of the film's version of The Globe Theatre. Plus, we learn what it's like to make a movie while pregnant. - This episode is sponsored by Picture Shop & Aputure

SEASON 2 - EPISODE 183 - Hlynur Pálmason - Writer / Director In this episode of the Team Deakins Podcast, we speak with writer and director Hlynur Pálmason (THE LOVE THAT REMAINS, GODLAND, A WHITE, WHITE DAY). Throughout the episode, we get into the weeds of Hlynur's unique filmmaking process, and we learn what his strategy has been to allow himself to fund and shoot the movies he wants to make. Hlynur describes his extensive writing process, and we learn about the importance of finding his locations while in the early development stages of his scripts. Later, we discuss Hlynur's tactics for making the most out of his relatively small budgets, and he reveals how he finds the rhythm of any given film with the actors. While discussing GODLAND, we reflect on the historical relationship between Denmark and Iceland in which the film is set, and we learn what Hlynur's motivation was for making the film to begin with. After studying still photography in Copenhagen and surviving a handful of odd jobs, Hlynur enrolled in the National Film School of Denmark, and we learn why he decided to take the film school route and what he ultimately gained from the experience. - Recommended Viewing: GODLAND - This episode is sponsored by Aputure & Picture Shop

SEASON 2 - EPISODE 182 - Martin Campbell - Director In this episode of the Team Deakins Podcast, we speak with director Martin Campbell (CASINO ROYALE, GOLDENEYE, EDGE OF DARKNESS). Faced with limited options for a career as a cameraman in New Zealand, Martin sailed to England, and five years in TV and 51 Tom Jones shows later, Martin transitioned into directing full time. As big fans of Martin's EDGE OF DARKNESS (1985), we didn't miss the opportunity to ask him about the making of the six-part BBC limited series, and we extensively discuss his choices and the challenges he faced. Martin describes the relative freedom the BBC gave him to shoot it, and we learn why he cast Bob Peck and Joe Don Baker in the two lead roles. Martin also reveals how they filmed the show as the scripts came in, and we discuss the alternative ending originally written for the final episode. Plus, Martin reveals why he remade the show as a feature years later in the United States. With two Bond films under his belt, Martin later shares how he was approached to direct GOLDENEYE, and he reveals why CASINO ROYALE was chosen to be grounded in reality. Martin also shares his tips for dealing with studio notes, and he reflects on how, throughout his life, his previous experiences set him up for success for what came next. - Recommended Viewing: EDGE OF DARKNESS (1985 UK TV Series) - This episode is sponsored by Picture Shop & Aputure

SEASON 2 - EPISODE 181 - Jack Fisk - Production Designer In this extended episode of the Team Deakins Podcast, we speak with production designer Jack Fisk (MARTY SUPREME, THERE WILL BE BLOOD, MULHOLLAND DRIVE). Spanning the worlds' jungles, mountains, and open plains, Jack's work as a designer brings the real world to the audience on the big screen. Throughout our conversation, Jack discusses his views on designing, and he recalls numerous stories detailing the exhaustive work behind his contributions to films such as DAYS OF HEAVEN, THE THIN RED LINE, and THE REVENANT. Later, Jack reveals how he resurrected post-war New York City in the Lower East Side in MARTY SUPREME, and we discuss how he collaborated with cinematographer Darius Khondji (Season 1, Episode 135) on the film and strove for originality in its design. Jack also reflects on the evolution of his lifelong friendship with David Lynch from high school up until his death in 2025, and he shares how he overcame a number of obstacles while designing MULHOLLAND DRIVE. Plus, Jack recalls how he survived the "highway of death" in Costa Rica. Listen to Ruth De Jong's episode (Season 2, Episode 49) to learn even more about Jack. - Recommended Viewing: MULHOLLAND DRIVE, DAYS OF HEAVEN - This episode is sponsored by Aputure & Picture Shop 

SEASON 2 - EPISODE 180 - Nicholas Britell - Composer In this episode of the Team Deakins Podcast, we speak with composer Nicholas Britell (JAY KELLY, DON'T LOOK UP, MOONLIGHT). "How can a score function within a film?" is the question driving most of our conversation with Nicholas, and throughout the episode he generously provides insight into his process and recalls several examples from his own work to demonstrate how he and his directors arrived at specific pieces of music. We also reflect on the varying natures of scores across film history, and Nicholas shares the challenges of composing for television. He also shares the types of conversations he has with directors after he's brought onto a project, and we learn how he developed the themes for JAY KELLY, DON'T LOOK UP,  and THE BIG SHORT. In addition to composing full scores, Nicholas has also contributed music heard within a film's world—during the development of 12 YEARS A SLAVE, he was brought on to compose the songs played in individual scenes, and he reflects on how he balanced the music as both a dramatic element and a piece of history.  - Recommended Viewing: DON'T LOOK UP - This episode is sponsored by Picture Shop & Aputure

SEASON 2 - EPISODE 179 - Kelly Reichardt & Christopher Blauvelt - Director & Cinematographer In this episode of the Team Deakins Podcast, we speak with director Kelly Reichardt and cinematographer Christopher Blauvelt. Kelly and Christopher started working together on MEEK'S CUTOFF, and they've continued their partnership through films such as FIRST COW, SHOWING UP, and THE MASTERMIND. During the conversation, Kelly (from Miami) shares how she made it out of Florida to join the film community in New York City, and Chris (from Los Angeles) reveals how he found himself following his filmmaking family into the business after a youth of truancy and rebellion. Later, we discuss their working relationship, and we learn why they  ended up meeting in the first place. We also spend much of the conversation discussing the making of their latest film, THE MASTERMIND, and we discuss the film's pacing and our changing relationship to time as an audience. Plus, Kelly reveals how long it took her to pay off the credit card she used to fund her first feature, and we stumble upon alternative titles to her films. - Recommended Viewing: THE MASTERMIND - This episode is sponsored by Aputure & Picture Shop

SEASON 2 - EPISODE 178 - Fatih Akin - Writer / Director In this extended episode of the Team Deakins Podcast, we speak with writer and director Fatih Akin (AMRUM, IN THE FADE, HEAD-ON). Born in Hamburg, Fatih wrote his first script at 18 during religion lessons, and after selling the screenplay a year later, he's been writing, directing, and producing films ever since. In addition to discussing his process as a filmmaker, we also learn what it's like to make movies within the German system. During our conversation about THE EDGE OF HEAVEN, Fatih reveals the extensive restructuring of the film's story in the edit, and while discussing IN THE FADE, Fatih reflects on the events that led to casting Diane Kruger in the film's lead role. Fatih's latest film, AMRUM, is based on the childhood memories of late director Hark Bohm, and we learn how Hark not only inspired Fatih to make movies in his hometown but also convinced him he was the right person to tell a story about the end of the Third Reich, set on a remote German island. Plus, Fatih reveals the influence of Bruce Lee's films and martial arts philosophy on his work. - Recommended Viewing: AMRUM, IN THE FADE, THE EDGE OF HEAVEN - This episode is sponsored by Picture Shop & Aputure

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

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

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

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

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

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

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

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

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

SEASON 2 - EPISODE 168 - Ted Schilowitz - Futurist In this episode of the Team Deakins Podcast, we speak with futurist Ted Schilowitz. Ted has spent his life working in entertainment, from producing commercials in Florida to exploring virtual reality at Fox and Paramount, and we thought his perspective on the relationship between technology and entertainment could help us better understand where we might be headed. Over the course of our conversation, we discover that to think of the future, we need to remember the past, and Ted connects recent developments in technology to a number of breakthroughs he was witness to himself. We learn about Grass Valley—the video equivalent of Silicon Valley—and of the origins of the RED camera system, and Ted reveals Apple's early attempts to bring digital video to their computer systems. We also discuss modern consumer trends and our changing relationships with screens, and we learn about Kodak's missed opportunity in the prehistoric days of digital cameras. Ted later shares his observations on AI, and he makes a prediction of what we'll see over the next five years of cinema.  - This episode is sponsored by Sandstorm & Aputure

SEASON 2 - EPISODE 167 - James Laxton - Cinematographer In this episode of the Team Deakins Podcast, we speak with cinematographer James Laxton (THE UNDERGROUND RAILROAD, ANYTHING, MOONLIGHT). If you've seen a film directed by Barry Jenkins (Season 2, Episode 156), then you've seen James' work. Throughout much of the episode, we discuss his longstanding collaborative relationship with Barry, but we also learn how James tries to fit into the visions of the other directors he's worked with. The three of us share a love for preparation, and we learn how James' prep process has evolved and also stayed the same in both his work with Barry and with other filmmakers. James later reveals his perspective on executing the sweeping camera move in the diner in the final act of MOONLIGHT, and we discuss his work using colour in ANYTHING. We also compare our experiences working in animation, and James reflects on being a terrible assistant camera in his salad years. - Recommended Viewing: ANYTHING, MOONLIGHT, MEDICINE FOR MELANCHOLY - This episode is sponsored by Aputure & Sandstorm

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

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

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

SEASON 2 - EPISODE 163 - Iris Prize LGTBQ+ Film Festival - with Lewis Bayley In this special episode of the Team Deakins Podcast, we speak with Lewis Bayley, Industry Coordinator for the Iris Prize LGBTQ+ Film Festival. Lewis invited us to speak with him about filmmaking earlier this year, and what you'll hear is that recorded conversation. We had the pleasure of discussing many topics with Lewis, such as the overall importance of film festivals and our longtime efforts giving back to younger generations of filmmakers. Additionally, we share a few work stories from our long careers, Roger gives a preview of what to expect in his upcoming memoir, Reflections, and James reveals the game she played with director Martin Scorsese while we were shooting KUNDUN in the Moroccan desert. The Iris Prize LGBTQ+ Film Festival is hosted annually in Cardiff, Wales with talks, panels, and screenings of shorts and features highlighting the myriad of experiences within the global LGBTQ+ community, and we were happy to be a small part of their 19th edition.  - This episode is sponsored by Aputure & Sandstorm

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

SEASON 2 - EPISODE 161 - Atom Egoyan - Director In this episode of the Team Deakins Podcast, we speak with director Atom Egoyan (SEVEN VEILS, THE SWEET HEREAFTER, EXOTICA) in an extended conversation. Atom was born in Cairo and raised in Canada, and his young love for theatre grew to encompass filmmaking after a hard rejection in college. Throughout our winding conversation, we discuss the creation of many of his films, and Atom asks us a few questions too! Atom's films vary in their visual styles, and he frequently collaborates with cinematographer Paul Sarossy (Season 1, Episode 111), and he reveals how they first met and how they like to work together. Atom also shares why he restructured THE SWEET HEREAFTER in post, and we discuss the power of withholding information from the audience. We also learn why Atom chose to avoid a conventional historical drama when constructing ARARAT, a film about the Armenian Genocide, and we reflect on cinema's ability to communicate the horrors of history. - Recommended Viewing: ARARAT, THE SWEET HEREAFTER - This episode is sponsored by Aputure & Sandstorm

SEASON 2 - EPISODE 160 - Mark Friedberg - Production Designer In this extended (and funny) episode of the Team Deakins Podcast, we speak with production designer Mark Friedberg (CAUGHT STEALING, JOKER, THE UNDERGROUND RAILROAD). A native New Yorker, it wasn't until returning to the city after Jack Kerouac-ing around the country that Mark (and his dog) first found work in the film industry as a driver for the Woody Allen production team. Mark was eventually let out of the van, and, throughout our conversation, he reveals how he thought through many of the challenges in his long and impressive career as a designer. Mark is also a staple in Barry Jenkins' (Season 2, Episode 156) stable of collaborators, and we learn how Mark's daughter convinced her father to break his own rules to initially meet with the director. We also discuss technology's place in Mark's design process, and he shares why he rehired the millennial gamers who built MUFASA's Africa to digitally visualize the sets of JOKER: FOLIE À DEUX before physically constructing them.  - Recommended Viewing: THE ICE STORM - This episode is sponsored by Sandstorm & Aputure

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

SEASON 2 - EPISODE 158 - Debra Granik - Director In this extended episode of the Team Deakins Podcast, we speak with director Debra Granik (LEAVE NO TRACE, WINTER'S BONE, DOWN TO THE BONE). Debra's films carry the traditions of social realism into the 21st century, and throughout our conversation we discuss the movement's place in the United States and around the world, her approach to the work, and why she's faced difficulty finding the means to shoot and distribute films that direct attention towards American poverty with clear and empathetic eyes. We also learn about the college professor and the films he screened that influenced her attitude towards filmmaking the most, and she reflects on being further inspired by the spirit of Dogme 95, a filmmaking movement co-founded by director Thomas Vinterberg (Season 1, Episode 101). We later discuss her extensive use of non-actors in her films, and she shares how the local community featured in WINTER'S BONE helped improve the film. We also reflect on the legacy and genius of Charles Dickens, and Debra answers the question, "What is the scariest four letter word in American storytelling?" - Recommended Viewing: LEAVE NO TRACE, WINTER'S BONE, DOWN TO THE BONE - This episode is sponsored by Barco & Aputure

SEASON 2 - EPISODE 157 - Garret Dillahunt - Actor In this episode of the Team Deakins Podcast, we speak with actor Garret Dillahunt (NO COUNTRY FOR OLD MEN, THE ASSASSINATION OF JESSE JAMES, DEADWOOD). We worked with Garret on NO COUNTRY and JESSE JAMES, and we had a wonderful time catching up with him. Garret shares how he made his way from rural Washington to the graduate program for acting at NYU, and we learn why he made the leap from theatre to film and television. While trading stories from NO COUNTRY, Garret shares a humorous episode involving himself, actor Tommy Lee Jones, the Coen brothers, and a bowl of wrapped candies, and we marvel at the Coens' ability to nudge actors into shooting their storyboards. In the latter half of our conversation, Garret recalls his experiences shooting the television series DEADWOOD, and we learn how those experiences set the tone for the rest of his career. Garret also reveals how showrunner David Milch wrote the show as they shot it, and we discuss the different strategies and approaches to coverage. Plus, we discuss dealing with imposter syndrome, and Garret reflects on the actor-in-a-supporting-role's tricky task of trying to find the vibe on a set at 2AM. - Recommended Viewing: NO COUNTRY FOR OLD MEN, THE ASSASSINATION OF JESSE JAMES, DEADWOOD - This episode is sponsored by Aputure & Barco

SEASON 2 - EPISODE 156 - Barry Jenkins - Director In this episode of the Team Deakins Podcast, we speak with director Barry Jenkins (MUFASA: THE LION KING, THE UNDERGROUND RAILROAD, MOONLIGHT). How did Barry get from South Florida to Hollywood? What did he learn about himself on his walkabout around the country after leaving the industry? What did Barry struggle with in the gap between the release of his debut feature and MOONLIGHT? How did he survive the gonzo shooting schedule of THE UNDERGROUND RAILROAD? Why MUFASA? Barry answers all these questions and speaks on craft, process, and so much more in this extended and enriching conversation about his life, his films, and the many years he spent not actually making anything. Barry and his film school friends Adele Romanski and Mark Ceryak also produce movies through their production company PASTEL, and we discuss why he feels it's important to help introduce new filmmakers and new voices—particularly now. Plus, Barry reveals the premise of his unrealized Stevie Wonder time-travel script.  - Recommended Viewing: THE UNDERGROUND RAILROAD, MOONLIGHT, MEDICINE FOR MELANCHOLY - This episode is sponsored by Barco & Aputure

SEASON 2 - EPISODE 155 - Fred Specktor - Agent In this episode of the Team Deakins Podcast, we speak with agent Fred Specktor (CAA). Fred has actually seen it all—now in his 90s, he joined the mailroom at MCA (before its dissolution) after graduating college, and he's been in the business ever since. After a stint as movie mogul Lew Wasserman's assistant at MCA, Fred was fired, and he recounts his journey bouncing between outfits until landing at CAA where he has represented top Hollywood talent for the past four decades. Fred's long career as an agent is populated with moments such as networking at a car accident and attending an acting class with Jack Nicholson, and he shares many of them with us throughout the episode. We also discuss the differences in Hollywood, moviegoing, and filmmaking between today and the previous century, and we learn how he still tackles his work with verve after a lifetime on the job. Plus, Fred makes his prediction for the future of the movies. - If you enjoy listening to Fred, we recommend reading THE GOLDEN HOUR. Fred's career and life is one of the subjects of the novel which was written by previous guest (and Fred's son) Matthew Specktor (Season 2, Episode 146). - This episode is sponsored by Aputure & Barco

SEASON 2 - EPISODE 154 - Tracy Letts - Actor / Writer In this episode of the Team Deakins Podcast, we speak with actor and writer Tracy Letts (AUGUST: OSAGE COUNTY, BUG, HOMELAND). Born and raised in Oklahoma, Tracy struck out for Chicago after high school to find work as an actor in the city's active theatre scene, and we learn why Tracy began writing plays himself. We also discuss cinema's role as a messenger for exposing the stories of the stage to rural American communities without access to the theatre, and he shares his mixed experiences adapting his plays into films, from director William Friedkin's tense vision of BUG to the Hollywood ensemble version of his Pulitzer Prize winning play AUGUST: OSAGE COUNTY. An accomplished actor as well, Tracy reflects on seeking advice for performing for the camera from his seasoned HOMELAND castmates Claire Danes and Mandy Patinkin, and he reveals how he felt when, after being replaced on a film he had written, he was asked to act in additional scenes invented for his character. Plus, Tracy quotes a critical review that ironically sold out the remaining shows of his first play KILLER JOE.  - This episode is sponsored by Barco & Aputure

SEASON 2 - EPISODE 153 - Steven Soderbergh - Director In this extended episode of the Team Deakins Podcast, we speak with director Steven Soderbergh (BLACK BAG, TRAFFIC, OUT OF SIGHT). Steven credits his father for giving him the movie bug, and he shares how a young adulthood shooting short films and writing spec scripts in Louisiana led to the 8-years-in-the-making overnight success of his debut feature: SEX, LIES, AND VIDEOTAPE. We spend much of the episode discussing Steven's insights into directing and filmmaking, and he opens up about his transition into shooting his own films under the alias Peter Andrews. Steven also reflects on directing OUT OF SIGHT, recalling how he ended up with the job, when a studio note protected him from his own instinct to be lean in the film's edit, and why he felt the movie was at stake when he went to war to cast Jennifer Lopez. Steven also stresses the importance of character and reputation in the business, and he recalls the pitfalls of acting like an egomaniac that he witnessed while crewing in his early days. We also discuss the value of establishing a basic grammar and set of rules specific to the film one is making, and Steven shares how he tries to listen to what a movie wants "itself" to be. - Recommended Viewing: OUT OF SIGHT  - This episode is sponsored by Aputure & Barco

SEASON 2 - EPISODE 152 - Lucy Prebble - Playwright / Writer Playwright and writer Lucy Prebble (SUCCESSION, I HATE SUZIE, ENRON) joins us in this episode of the Team Deakins Podcast. Lucy's plays frequently incorporate the physical space of the stage in the telling of the story and involve the audience in engaging and creative ways, and we were excited to talk to her about storytelling both on stage and on screen. We learn how, after a bookish childhood, she eventually found the courage to have her own plays put on, and she reflects on her experiences running her own television show and working on others'. Lucy also wrote for the amply-budgeted video game DESTINY, and she shares (as much as she's allowed to) how the writing process works for something with that many resources. Lucy also reveals the real-world events that inspired her plays ENRON and THE SUGAR SYNDROME, and we learn how she identifies the real human relationships at the heart these stories. We also discuss the value of empathy and deadlines for a writer, and Lucy makes a prediction for the future of the theatre in the digital age. Plus, we observe that many of history's greatest writers were really just frustrated actors. - This episode is sponsored by Barco & Aputure

SEASON 2 - EPISODE 151 - Dave Freeth - Inventor of the Stabileye In this episode of the Team Deakins Podcast, we speak with Dave Freeth, a recipient of a Scientific and Engineering Award by the Academy of Motion Picture Arts and Sciences for the invention of the Stabileye. The Stabileye is a remotely-operated, motorized camera stabilization system, and we used the equipment extensively on 1917 to pull the film off. Dave originally started out in an apprenticeship for watchmaking but soon found himself working for the Ministry of Defence until making the transition into the film industry. We asked Dave to come on the podcast to discuss the Stabileye's inception and design, and he describes the underlying mechanics that not only power the Stabileye but other stabilization systems in use today. We talk about gyroscopes, satellites, lasers, and even gravity! He also shares how the Stabileye is adapting to newer camera models, and he reveals some surprising potential developments in sensor technology. We learn a lot in this episode, and we were excited to celebrate Dave's recent recognition with him.  - This episode is sponsored by Aputure & Barco

SEASON 2 - EPISODE 150 - A LOOK AT TWO INSPIRATIONAL FILMS - with Joe Walker - Part 2 In this episode of the Team Deakins Podcast, we finish our two-part conversation with editor Joe Walker (Season 1, Episode 35) about two of our favourite films: Richard Brooks' IN COLD BLOOD and Jean-Pierre Melville's ARMY OF SHADOWS. Following the previous episode, we shift our focus towards ARMY OF SHADOWS, contrasting the film's measured pacing with the rapidity of its violence that punctuates several points in the story. We reflect on the emotional effect of the movie's unique sense of rhythm and handmade nature, and we discuss the use (and absence) of music throughout the film. We also reflect on the film's near-lack of inserts and intimacy, and we share how the film successfully adapts the essence of the book from which it is based despite making several story changes. Roger was in college at the time of both films' theatrical runs, and he shares what it was like watching them with contemporary audiences. Later, Joe reveals why he and director Denis Villeneuve (Season 1, Episode 25) vary their film diet and watch "slower" films such as ARMY OF SHADOWS to refresh their brains, and Joe observes that fisherman make great camera operators. - Recommended Viewing: IN COLD BLOOD (1967), ARMY OF SHADOWS (1969) - This episode is sponsored by Barco & Aputure

SEASON 2 - EPISODE 149 - A LOOK AT TWO INSPIRATIONAL FILMS - with Joe Walker - Part 1 In this episode of the Team Deakins Podcast, editor Joe Walker (Season 1, Episode 35) returns for the first half of a two-part discussion about the filmmaking behind two of our favourite films: Richard Brooks' IN COLD BLOOD and Jean-Pierre Melville's ARMY OF SHADOWS. The films may contrast in their expression of cinematic storytelling with each other and with films made today, but we find, over the course of these two episodes, that both films share and build on the fundamental elements of what makes a movie, a movie. This episode focuses on IN COLD BLOOD, and we discuss how the film frequently subverts expectations through its structure, cinematography, and editing. Joe also breaks down composer Quincy Jones' evocative score, and he reveals how the film radically flew in the face of a soon-to-be-abandoned Hays Code. Additionally, we look at the innovations in filmmaking technologies and techniques from cinema's youth to the 1960s, and Joe presents his theory of the 30-year-cycle of evolution in the film industry. Plus, we take a moment to consider the links between Soviet propaganda's understanding of montage and the modern analytics and algorithms that manipulate how images are presented on the internet today.  - Recommended Viewing: IN COLD BLOOD (1967), ARMY OF SHADOWS (1969) - This episode is sponsored by Aputure & Barco

SEASON 2 - EPISODE 148 - Pulling a Film Together - with Paula McGann In this episode of the Team Deakins Podcast, we speak with Paula McGann (1917, DARKEST HOUR, MIDNIGHT SKY). We had the pleasure of working with Paula on 1917, and we asked her to come on the podcast to discuss the work that goes into pulling a film together nowadays. Paula—after years of working for directors, producers, and in several departments on numerous films—has recently begun producing herself, and with several projects in various stages of development, we thought her perspective would be valuable to hear and share. Paula teaches us what the film marketplace actually is, and we explore several hypothetical situations such as breaking down a script without a director's vision and handling a financier's creatively disruptive note. Paula also shares an experience in which a project was taken away from her, and we discuss practicing resilience in a business of ups and downs. Throughout the episode, we discuss mentors, budgeting, sales agents, putting yourself out there, and finding your own way in the business. - This episode is sponsored by Profoto & Aputure

SEASON 2 - EPISODE 147 - Turning the Tables - TRUE GRIT - David Mullen Cinematographer David Mullen (Season 1, Episode 83 & Season 2, Episode 113) returns for a new edition of the "Turning the Tables" series in this episode of the Team Deakins Podcast. David's questions center around our work on the Coen Brothers' 2010 version of TRUE GRIT, and we had a wonderful time answering them. In addition to the questions concerning how we actually made the film, we also discuss the long history of westerns and the visual variety within the genre. We also reveal the story behind the push-in in the opening shot of the film, what was on location and what was on stage, and how we shot the river crossing scene. We later reflect on working with then-child actor Hailee Steinfeld, and we discuss the script's unique and engaging dialogue. We also reflect on the utility of cowboy hats and on the visual strength of westerns directed by John Ford and Sergio Leone, and we swap stories from our early-career, low-budget exterior shoots. Topics also include: film stocks, aspect ratios, lighting locations and sets, and nighttime nightmares shooting a black mare against a black sky. - Recommended Viewing: TRUE GRIT (2010) - This episode is sponsored by Aputure & Profoto

SEASON 2 - EPISODE 146 - Matthew Specktor - Author Author Matthew Specktor joins us in this episode of the Team Deakins Podcast. In his recently released memoir, THE GOLDEN HOUR, Matthew, the son of legendary talent agent Fred Specktor, uses his parents' divergent professional and personal lives to reflect on the film industry as it was, and he writes about his own life and career in and around the movies to reflect on what it has become. After reading it (and Matthew's other novels), we felt we had to speak with him. What follows in this episode is a wide-ranging and lively conversation about Matthew's life, his and our views on the changes in the film business and in the films themselves, cinema's place in society, and the genuine love for Hollywood that comes out in his writing. We also discuss the changing economics of funding films, the shifts in who wields power in Hollywood, and Matthew details the brief window in the 1960s and 1970s in which filmmakers were afforded a relative freedom not seen since. In THE GOLDEN HOUR, Matthew at times places us inside the minds of industry figureheads such as Lew Wasserman and Michael Ovitz, and Matthew shares how understanding the men who changed the film industry can help us better understand where we are today. We also reflect on the all-consuming lifestyle of working in Hollywood, and Matthew likens it to being trapped in a casino at two in the morning—forever. Plus, Matthew shares what it was like learning how to write from a uniquely qualified professor: James Baldwin.  - Recommended Reading: THE GOLDEN HOUR - This episode is sponsored by Profoto & Aputure 

SEASON 2 - EPISODE 145 - Deliverables and Preserving Authorial Intent - with Steve Yedlin In this episode of the Team Deakins Podcast, cinematographer Steve Yedlin (Season 2, Episode 72) returns to talk with us about deliverables and preserving authorial intent in post-production. Throughout the episode, we tap into Steve's deep well of technical knowledge, and we make frequent reference to Steve's publicly available demonstration on what HDR really is and how it has affected the colour timing stage of post. We get into the weeds during our conversation, and we try to make sense of the growing number of variables, units of measurement, and home-video viewing options we're forced to contend with as filmmakers in the digital age. We also look at how our level of control over home-viewing deliverables has changed since the VHS days, and we attempt to peek into what the future may hold for us as technology and audience expectations continue to evolve. Towards the end of our conversation, we discuss the economic realities of restoring old films, and Steve offers his best advice to any young (or older!) filmmaker feeling overwhelmed by the endless technical jargon. Plus, we find some surprising and relevant wisdom within THIS IS SPINAL TAP. - We highly recommend watching Steve's demonstration on HDR for an even deeper investigation into the topics discussed in this episode. Tap here to watch. - This episode is sponsored by Aputure & Profoto

SEASON 2 - EPISODE 144 - Philip Barantini - Director In this episode of the Team Deakins Podcast, we speak with director Philip Barantini (ADOLESCENCE, BOILING POINT, ACCUSED). Originally from Liverpool, Philip couldn't have felt further away from the film industry, but after developing an interest in drama and acting, he soon found himself as a working actor. After dropping out of the business and regaining his sobriety, he eventually overcame his self-doubt and built his career as a director from the ground up. Philip shares how he made the jump from making shorts to developing the television series BOILING POINT, and we learn how he found financing for the project and executed the single-shot aesthetic just as the world was shutting down at the beginning of the COVID-19 pandemic. We later learn about the genesis and development of ADOLESCENCE, and Philip reflects on the extensive rehearsal process for each episode. Philip also reveals how he created an environment within each episode that empowered the show's actors to improvise, and he shares how young actor Owen Cooper exceeded all expectations for his first role in front of the camera. - Recommended Viewing: ADOLESCENCE  - This episode is sponsored by Profoto & Aputure

SEASON 2 - EPISODE 143 - Phil Alden Robinson - Writer / Director In this episode of the Team Deakins Podcast, we speak with writer and director Phil Alden Robinson (THE GOOD FIGHT, THE SUM OF ALL FEARS, FIELD OF DREAMS) about many of his films. Phil was initially interested in politics and journalism, but he eventually made his way to Los Angeles and found his way into a writer's room based on the strength of a spec script. Phil soon found two of his feature scripts in production, and he reflects on the impact of being treated as badly as possible and as well as possible simultaneously. Later, Phil breaks down how FIELD OF DREAMS came together as a project, and we learn how he overcame an overwhelming sense of stress through the support of his cast and key crew members, including cinematographer John Lindley (Season 1, Episode 34) and production designer Dennis Gassner (Season 1, Episode 131). In addition to his work in features, Phil also directed documentaries for Nightline in a number of war zones, and we discuss the value of living life and taking time off from making movies. We also discuss the ubiquitousness of VFX in cinema today, and Phil shares what he feels to be the real lesson to take away from a film like the original STAR WARS. - Recommended Viewing: FIELD OF DREAMS, THE SUM OF ALL FEARS - This episode is sponsored by Aputure & Profoto

SEASON 2 - EPISODE 142 - Michael Shannon - Actor Actor Michael Shannon (THE BIKERIDERS, GEORGE & TAMMY, MAN OF STEEL) joins us in this episode of the Team Deakins Podcast. We worked with Michael on REVOLUTIONARY ROAD, and we had a wonderful time catching up with him. Michael shares how he first stumbled into acting, which early-career play of his took him from a tiny theatre in Chicago to the West End and Off-Broadway, and why the experience of actors coming up today is so unlike his own. We also discuss his longtime collaborative relationship with director Jeff Nichols (Season 1, Episode 28), and we reflect on his penchant for projects concerning the end of the world. We also discuss his work in TAKE SHELTER, and we learn how Michael coped with sleeping in an abandoned building during the shoot. Throughout the conversation, Michael shares his opinions on rehearsing, remaining in character after a long day, and repetitive takes, and after learning Michael just directed his first film, we ask if his perspective as an actor has changed at all. - Recommended Viewing: TAKE SHELTER - This episode is sponsored by Profoto & Aputure

SEASON 2 - EPISODE 141 - DP & VFX Relationship - with Greig Fraser & Paul Lambert In this episode of the Team Deakins Podcast, cinematographer Greig Fraser (Season 1, Episodes 29, 57, 63, 69 & Season 2, Episodes 50, 51, 100) and VFX supervisor Paul Lambert (Season 1, Episode 107) return to talk about the modern relationship between the cinematography and visual effects departments. Throughout the episode, we frequently refer to Paul's and Greig's collaboration on both DUNE films, and they reveal how they realized several scenes and overcame the endless challenges of shooting the film with the support of one another. They share why they utilized painted backings to assist in set extension over blue screens or LED walls, and we later swap strategies for figuring out how to maintain the illusion of a flying helicopter. Greig also reveals what makes him proud about a particular all-CG shot in DUNE: PART II, and Paul breaks down what an audience really means when they see "bad CGI" in a film. Towards the end, we discuss the merging of animation and live-action filmmaking, and we look ahead to what the future may bring. - Recommended Viewing: DUNE (2021), DUNE: PART II (2024) - This episode is sponsored by Aputure & Profoto

SEASON 2 - EPISODE 140 - Jon Alexander - Compositing Supervisor In this episode of the Team Deakins Podcast, we speak with compositing supervisor and visual effects artist Jon Alexander (DEADPOOL & WOLVERINE, AVENGERS: AGE OF ULTRON, THE PHANTOM MENACE). Jon was witness to a number of milestones in the history of visual effects, and throughout the episode, Jon shares numerous stories from his long career at Industrial Light & Magic (ILM), granting us insight into a time he likens to as the Italian Renaissance. From optical printers to artificial intelligence, Jon shares his experiences working with the many pieces of technology responsible for manipulating images, and he reveals the level of focus he and his colleagues at ILM shared when it came to problem-solving (even during an earthquake!). In addition to his work in film, Jon has also worked on projects for The Sphere in Las Vegas, and he shares what he believes to be the distinctive traits of and the possible uses for the new technology. Jon also reveals what he saw as a groundbreaking advancement in visual effects while working on HOWARD THE DUCK, and we compare past and present VFX techniques. Plus, we break down how optical visual effects are actually made. - This episode is sponsored by Profoto & Aputure

SEASON 2 - EPISODE 139 - Camera Movement - with Tom Cross & Ed Lachman In this special episode of the Team Deakins Podcast, editor Tom Cross (Season 1, Episodes 129 & 139) and cinematographer Ed Lachman (Season 1, Episode 77 & Season 2, Episode 132) return to join us in a discussion about camera movement. From Douglas Sirk's sweeping camera moves to Robert Bresson's measured stillness, the four of us bring up examples of when camera movement (or its lack thereof) affects us, and we discuss why we believe choosing when and how to move the camera all comes down to what feels emotionally right for the story. When our conversation inevitably turns to 1917, we reflect on the variety of camera moves within the "single shot" of the film, and we discuss how the contrast of a camera move that diverges from a film's established language can more appropriately express character and a beat within the story. Ed also shares the unique method of filming practiced by studio era director George Stevens, and Tom reveals how he and director Damien Chazelle (Season 2, Episode 23) restitched the roaming camera move of the opening musical number in LA LA LAND. Throughout the episode, we draw on our own experiences as filmmakers and from our observations on a myriad of films across film history, and the conversation evolves to cover the relationship between editing and cinematography. A big thank you to Ed and Tom for coming back to talk with us! - This episode is sponsored by Aputure & Profoto

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SEASON 2 - EPISODE 112 - DAN LEMMON - VFX Supervisor VFX Supervisor Dan Lemmon (THE BATMAN, DAWN OF THE PLANET OF THE APES, AVATAR) joins us on this episode of the Team Deakins Podcast. Expanding upon our collection of conversations with filmmakers who worked on THE BATMAN, Dan is more than eager to discuss his work on the film, and he breaks down his team's contributions to the Batmobile chase sequence and the look of the film as a whole. We also discuss the value of shooting references for the VFX department, and Dan reveals his reasoning for advocating to shoot as much as possible in-camera. We later learn how VFX houses are adapting to deliver their work at the same quality under tightening budgets, and we reflect on how the pace of innovation in the field has changed over Dan's career. Dan also explains how motion capture technology works and how it's evolved to allow for films like AVATAR and the recent PLANET OF THE APES trilogy to exist as envisioned by their directors. Towards the end, we reflect on the modern trend towards naturalism and the diminishment of theatricality in how stories are told cinematically. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 111 - JESSE JAMES Live Q&A - with Wendy Roderweiss This special episode of the Team Deakins Podcast features a recording of what was a live conversation between Team Deakins and filmmaker and DePaul University professor Wendy Roderweiss following a screening of THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD at the Music Box Theatre in Chicago. During the conversation, we discuss our experiences shooting the movie and working together as creative and life partners, and James reveals how her involvement allowed Roger to simultaneously shoot JESSE JAMES while colour timing JARHEAD. She also discusses how she balanced the workload between the two films (and countries!). We later share the genesis of the opening montage, and we also reflect on the limited use of the Deakinizer lenses invented for the film. We also answer a series of audience questions, and we reflect on our time working with the DePaul students during our visit to Chicago. Roger also offers his (brief) review of the print used at the screening!   This was recorded in early 2024 during our visit to DePaul University to participate in a series of events with their students. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 110 - JON SANDERS & ANNA MOTTRAM - WRITER / DIRECTOR & WRITER / ACTOR On the episode of the Team Deakins Podcast, we speak with writer/director Jon Sanders & actor/writer Anna Mottram (PAINTED ANGELS, A CHANGE IN THE WEATHER, A CLEVER WOMAN). As old friends and a fellow filmmaking couple, we had a lot to talk about! Roger and Jon reminisce on coming up together amidst the fallout television left hanging over England's film scene, and we all compare our experiences working with our partners over a lifetime. Anna muses on the act of improvisation as an actor, and Jon shares how he works with the cinematographer to pull off the series of long takes that define their films. We later discuss the liberating force of digital cameras, and we learn why they opt to improvise every scene and shoot their films in chronological order. Towards the end, we reflect on their commitment to the theatrical experience, the reach of their films, and on the touching feedback Jon and Anna receive from their viewers. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 109 - KEVIN BAILLIE - VFX SUPERVISOR On this episode of the Team Deakins Podcast, we speak with visual effects supervisor Kevin Baillie (HERE, PINOCCHIO, FLIGHT) in an engaging conversation about the evolving use of VFX in film. We learn what types of discussions Kevin has with filmmakers to determine how to incorporate VFX effectively into their projects, and we discuss his belief in using the right tool for the right job. While looking back in history, we marvel in the immersive quality of Ray Harryhausen's pioneering work on JASON AND THE ARGONAUTS and discuss the function of VFX within a piece of storytelling. We also discuss the increasingly prevalent role of VFX in production and on a perceived creative bifurcation between the production stage and the post-production stage. A frequent collaborator of director Robert Zemeckis, we discuss how the director's relationship to visual effects has changed over the years, and Kevin reveals the intent behind the VFX in the upcoming feature HERE. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 108 - TIM BLAKE NELSON - ACTOR / WRITER / DIRECTOR On this episode of the Team Deakins Podcast, we speak with actor, writer, and director Tim Blake Nelson (LEAVES OF GRASS, THE BALLAD OF BUSTER SCRUGGS, LINCOLN) about a wide range of topics. We had the pleasure of working with him on O BROTHER WHERE ART THOU?, and we had a wonderful time catching up with him. We learn all about his journey from Oklahoma to his first breaks as an actor, and we discuss the artistic and academic foundation that informs his choices as a filmmaker. James and Tim both studied the classics in college, and they compare their Latin and Greek syllabi and reflect on how they still draw from what they learned during their education. Picking the subject back up later in the episode, we also learn the truth behind the apocryphal myth as to whether anyone actually read Homer's Odyssey before shooting O BROTHER. Tim later reflects on his parallel career as a playwright, and we learn why he doesn't direct his own plays as he muses on the different demands of conceptualizing a story for the stage versus one for the screen. Later, we discuss his career as a director, and Tim shares his increasingly difficult experiences funding his independent films. Towards the end, we discuss his recent role as the star of his son's feature debut, ASLEEP IN MY PALM, and we ask Tim about his recent novel, CITY OF BLOWS, and learn how the story was inspired by Tim's real experiences in Hollywood during the COVID-19 pandemic. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 107 - PETER JAMES - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, cinematographer Peter James (MAO'S LAST DANCER, BLACK ROBE, DRIVING MISS DAISY) joins us to talk about his career. Growing up in Sydney, Australia, Peter spent five years in his youth working at a small studio working on commercials and local television programs before finding his to working on features. Peter shares his process for overcoming his dyslexia to break down scripts, and at one point in the conversation, he even teaches us a new lighting trick. Peter later discusses how he and the crew battled the elements to shoot the colonial-era set BLACK ROBE on location in the Canadian wilderness. Towards the end, we conduct some forensics on Peter's IMDb page, and we reflect on the power of the inverse-square law. - Recommended Viewing: BLACK ROBE - This episode is sponsored by Aputure

SEASON 2 - EPISODE 106 - TRISTAN OLIVER - CINEMATOGRAPHER In this episode of the Team Deakins Podcast, we speak with cinematographer Tristan Oliver (ISLE OF DOGS, PARANORMAN, CHICKEN RUN). Tristan generously shares his extensive knowledge of stop-motion animation with us, and we spend the majority of the episode learning the ins and outs of shooting 9-inch puppets in a warehouse. Tristan reveals how he (and up to 50+ active units) prepares the lights and cameras for scenes in such a way that doesn't impede upon the work of the animators physically bringing the characters to life, and we discuss the effectiveness of applying the principles and practices of live-action cinematography into the world of animation. In addition to his work in stop-motion animation, Tristan has contributed to live-action projects such as POOR THINGS and the uniquely realized LOVING VINCENT, and he reflects on his experiences in both projects. In the back half of our conversation, Tristan shares how he really felt working with director Wes Anderson on FANTASTIC MR. FOX and ISLE OF DOGS, from learning how to work together on the former to engaging in a battle of wits over the feasibility of deep focus in the latter, and we learn in which films Tristan sees the most of himself. At the end, we close our conversation with an appreciation for the enduring quality of that which is handmade over that which is merely manufactured.  - This episode is sponsored by Aputure

SEASON 2 - EPISODE 105 - Turning the Tables: "Our Partnership" - with Rick Carter Production designer Rick Carter (Season 2, Episode 95) returns to the Team Deakins Podcast for a special episode in which Rick turns the tables, and his questions, towards us. The focus of his questioning? Our partnership as Team Deakins. Rick mines the origins of our relationship and helps illuminate why Team Deakins works as well as it does, and we discuss how, as storytellers, we collaborate with one another and our fellow crew members to help visualize a film. James shares how she leverages her addiction to solving problems as an asset for the crew, and Roger reflects on how his total trust in James enables him to be in two places at once. Rick later steers the conversation towards the intuitive aspects of filmmaking, and we discuss the importance of keeping one's head straight during a shoot. Rick also expands the scope of our discussion to include the entire production, and we reflect on the magical energy of a crew working together in service of a clear vision as a unified creative unit. Towards the end, we also discuss the nature of the podcast as a means of communication, and we marvel at the fact that we've yet to actually meet Rick in person. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 104 - STEVE DUNN - ASSISTANT DIRECTOR Assistant director Steve Dunn (WALK THE LINE, A LITTLE PRINCESS, DANCES WITH WOLVES) joins us on this episode of the Team Deakins Podcast to discuss his life and career in a candid conversation. Steve fell in love with film as a child living in Venezuela, and after returning to America, he ended up convincing his university professors to accept course-specific short films in place of term papers. After graduating from USC, Steve drove off to Atlanta and landed a two-week PA gig alongside the GUNSMOKE crew on a mercenary job during the classic show's break in schedule. Steve later reveals how he made the transition from low-budget filmmaking in middle America to more mainstream filmmaking in Hollywood, and we learn how Steve leveraged his relationship with director Paul Schrader to break into assistant directing. Steve discusses how, as an assistant director, he keeps things moving at any cost, and he shares why he sometimes elects to designate himself as the lighting rod of blame on difficult shoots. We also discuss how Steve manages the different personalities on set, and he shares a number of episodes from his career in which he lost or narrowly avoided losing his job. Towards the end, we also learn how Steve came to finally work with director Robert Altman, one of his cinematic heroes. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 103 - IVAN SEN - DIRECTOR On this episode of the Team Deakins Podcast, we're speaking with director Ivan Sen (LIMBO, GOLDSTONE, MYSTERY ROAD). In addition to directing his films, Ivan is simultaneously responsible for the editing, cinematography, sound, and a myriad of departments typically delegated to others—his being a one man crew is a frequent point of discussion, and we learn how shooting on his own (or with relatively few collaborators) allows him to capture the emotional moments elusive to the circus of larger productions. We learn how Ivan's childhood moving around inland Australia informs the subjects of his films, and we discuss the power of place and its place in Ivan's story development process. During our discussion of his latest film, LIMBO, Ivan reflects on the increasing sense of formalism in his work and why he feels more excited for and more sensitive to the filmmaking process now than when he was just starting out. Towards the end, Ivan also shares his thoughts on the state of the Australian film industry and on being aware of the market realities of filmmaking and film exhibition when developing a project. We deeply admire Ivan's films, and we were thrilled to be able to speak with him about them. - Recommended Viewing: LIMBO - This episode is sponsored by Aputure

SEASON 2 - EPISODE 102 - LUKASZ ZAL - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, we're speaking with cinematographer Lukasz Zal (THE ZONE OF INTEREST, COLD WAR, IDA). Born and raised in Poland, Lukasz yearned to express himself creatively in his youth, but it wasn't until he filmed a communion that he found his creativity was best practiced through cinematography. We also learn how Lukasz took over the role of cinematographer on IDA and how he and director (and fellow Pole) Pawel Pawlikowski worked together. He later reveals the humorous reason the camera finally moves at the end of the film, and we discuss how shooting the film in colour and then converting the footage into black and white affected the final images. Later, Lukasz shares his experiences working on DOVLATOV in St. Petersburg, and we take a moment to appreciate the rich cinematic and artistic traditions of the Russian people. Towards the end, we also discuss the practical challenges of shooting THE ZONE OF INTEREST and how director Jonathan Glazer's idea of "Big Brother in Nazi Germany" informed the ultimate tone of the film. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 101 - WILLIE BURTON - PRODUCTION SOUND MIXER On this episode of the Team Deakins Podcast, production sound mixer Willie Burton (OPPENHEIMER, LOVE & BASKETBALL, THE SHAWSHANK REDEMPTION) joins us to talk about his career and the world of audio. We learn how Willie's love for all things audio began as a teenager in Tuscaloosa, Alabama and drove him to hitching a ride with a visiting minister out to California to pursue a higher education and deepen his knowledge in the field. After a string of odd-jobs and an engineering career in the sonar division of the Long Beach Naval Shipyard, Willie weathered years of rejection before gaining admittance into the sound union, becoming the first African-American in the local's history, and finally began his long career in film and television. Throughout the episode, Willie remembers those who helped him advance in his career; among them fellow trailblazer Sidney Poitier, who gave Willie his first break sound mixing a feature on the Poitier-directed LET'S DO IT AGAIN. Willie later shares how he likes to prepare for a film, and we discuss some of the challenges Willie faced recording sound on OPPENHEIMER and TENET. Towards the end of our conversation, we ask Willie if he's ready to hang it up, and we also learn about Willie's involvement in a new educational program in Kansas City exposing young men and women to the world of filmmaking. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 100 - Colour - with Donald Mowat & Greig Fraser In this special entry of the Team Deakins Podcast, we're celebrating the 100th episode of our second season by sharing our conversation about colour in film with former guests (and good friends) cinematographer Greig Fraser and makeup artist Donald Mowat. Greig discusses his endless search for the right lighting and camera combination to achieve a complexity and depth in skin tones he sees in 1970s-era American cinema, and we reminisce about the consistency in results born from the compatibility between tungsten lights and film stock designed for tungsten lighting. Donald also recalls the "Magenta Scare" when the red-adjacent colour became a point of fixation for filmmakers, and we consider the value of relying on the experts with whom we work. Throughout our winding discussion, some of the topics we cover include: actors' skin tones changing under stress, the evolving politics of the makeup department, the diverse (and distressing) settings and screens in which dailies are viewed, the trouble with painting a set grey, the varying qualities of LED lights, the varying qualities of coloured gels, how Greig tests for skin tones, how Donald sneaks reference photos for his department, and watching really bad films while on a shoot. Also included: Technicolor-era trivia from Roger.   A huge thank you to everyone still listening to the podcast! - This episode is sponsored by Aputure

SEASON 2 - EPISODE 99 - ALFONSO CUARÓN - WRITER / DIRECTOR Writer and director Alfonso Cuarón (ROMA, CHILDREN OF MEN, Y TU MAMÁ TAMBIÉN) joins us on this episode of the Team Deakins Podcast to talk about his career and about filmmaking. Growing up in Mexico, Alfonso sought solace in the cinema, and he crewed and assisted on documentaries around the country throughout his youth, setting the foundation for his visual sensibilities by studying the photography of Ansel Adams and observing a DP manipulate natural light to shoot vegetables. After directing his first feature, Alfonso was brought to Hollywood by director Sydney Pollack to work on an episode of the anthology series FALLEN ANGELS, and Alfonso recalls for us his encouraging conversation with actor Alan Rickman that helped him overcome the petrifying pressure of shooting within the Hollywood machine. Alfonso later shares how director Guillermo del Toro convinced him to helm the third HARRY POTTER film, and he reveals which elements of the franchise he pushed to evolve and change. Alfonso also reflects on his relationship with visual effects, and we discuss why prep and bringing one's collaborators into one's process brings out the best in any film. Towards the end, Alfonso reflects on his experiences working on his upcoming limited series and shares his fear that television, not cinema, is the one conquering the other; however, despite this fear, we discuss the past, present, and potential future of filmmaking through an optimistic lens.  - This episode is sponsored by Aputure

SEASON 2 - EPISODE 98 - ETHAN HAWKE - ACTOR / DIRECTOR On this episode of the Team Deakins Podcast, we're joined by actor and director Ethan Hawke (WILDCAT, BLAZE, BOYHOOD). James once worked with Ethan on WHITE FANG in Alaska, but before that, Ethan started acting in his youth in the theatre before landing his life-changing role on DEAD POETS SOCIETY. Throughout our discussion, Ethan reflects on his evolving relationship to film, art, and acting and shares a number of his thoughts on the nature of filmmaking. Ethan shares how he adjusts to the working style of different directors and what he's applied to his own discipline of acting after directing a number of projects. We later discuss rehearsals, learning how director Sidney Lumet once adjusted a scene with Ethan because of having run through the scene with him, and Ethan shares why would never ask a director to change their preferred way of working. We also learn how Ethan developed and directed BLAZE and what the guiding principles were behind the direction of WILDCAT. An engaging conversation with a truly talented artist! - This episode is sponsored by Aputure

SEASON 2 - EPISODE 97 - MARK JOHNSON - PRODUCER Producer Mark Johnson (THE HOLDOVERS, BETTER CALL SAUL, GALAXY QUEST) joins us on this episode of the Team Deakins Podcast. After growing up in Spain and a brief stint as an extra on DOCTOR ZHIVAGO, Mark worked in commercials in New York City before finding his way into the Directors Guild of America's Assistant Directing training program. Mark later survived William Friedkin's globe-trotting production of SORCERER, emerging from the dirt and mud having risen to the position of 2nd AD, and eventually broke into producing with director Barry Levinson's DINER. During our discussion, we learn how Mark finds projects to produce and what he looks for in projects brought to him. Mark also reflects on the varying styles of directors and how he personally defines the responsibilities of a producer. We also learn how Mark shepherded GALAXY QUEST (a favourite of ours) into existence, and he shares a number of insights into the journey of its development, production, and release. We later learn how Mark first met writer Vince Gilligan and of their long-term professional relationship that led Mark to producing BREAKING BAD and BETTER CALL SAUL, and he reflects on the differences between working in television versus film. Mark is responsible for introducing us to director Denis Villeneuve before we worked together on PRISONERS, and it was a pleasure to be able to catch up with him in this episode.  - This episode is sponsored by Aputure

SEASON 2 - EPISODE 96 - GEORGE COTTLE - STUNT COORDINATOR / 2ND UNIT DIRECTOR Stunt coordinator and 2nd unit director George Cottle (BARBIE, OPPENHEIMER, TENET) joins us on this episode of the Team Deakins Podcast. At 16, George spent a summer assisting stunt coordinator Greg Powell at Pinewood Studios, and his life has been dedicated to stunts ever since. George shares how he met the requirements for the British Stunt Register (while explaining what the organization actually does) and how the structure of the stunt department encourages the gradual but meaningful development of skills in its members. We also question George about his recent expansion into 2nd unit directing and learn how he coordinated the car chase in BARBIE using his daughter's walkie-talkies. We later learn how new technologies and advances in visual effects have assisted the stunt department in safely executing elaborate stunts, and George reflects on the department's modern pivot away from its historically machismo culture. George also reveals how he determines whether an actor can (or should) participate in a stunt, and we learn how he builds out his team when hired for a job. We also get George to reflect on the unique challenges of designing stunts for TENET amidst its many locales and its time-defying script. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 95 - RICK CARTER - PRODUCTION DESIGNER Production designer Rick Carter (THE FABELMANS, AVATAR, MUNICH) joins us on this episode of the Team Deakins Podcast. Despite growing up around Hollywood, Rick was a rebel, and it wasn't until after dropping out of college and traveling the world as a hippy that Rick finally found his way into filmmaking. Rick shares why he fell into the art department and, throughout the episode, reflects on how he conceptualizes spaces with his fellow filmmakers before bringing them into our reality. Rick also reflects on the podcast itself—it being an archive of filmmakers of a certain epoch of filmmaking—and eagerly adds his own voice to its chorus. We also focus on Rick's experiences working on director Steven Spielberg's MUNICH and on the decision-making that went into finding the location for the staircase scene set in Athens. - Recommended Viewing: MUNICH - This episode is sponsored by Aputure

SEASON 2 - EPISODE 94 - BILL BENNETT - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, cinematographer Bill Bennett speaks with us about the world of commercial filmmaking. Born into a family of engineers, Bill came to love art through his mother's own development as an artist, and he quickly changed majors in college to pursue his passion. Finding his way to LA, Bill built sets for commercials for years until breaking his way into camera operating and eventually cinematography in the field. Bill reveals how commercial filmmakers transitioned from film to digital formats and of his involvement in the development of the Arriflex 435 camera, a major breakthrough at the time. Bill later reflects on the impact of the Arri Alexa camera on the design of digital cameras at large and on the moment a digital camera demonstrated its value as a viable replacement for film cameras to him on a car commercial shoot. Bill also shares plenty of advice for young filmmakers looking to enter the world of commercial production and what his own views are on what makes someone stand out from the crowd. Towards the end, we discuss how commercial filmmaking is changing with new technologies like artificial intelligence and volume lighting systems. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 93 - DANIEL KALUUYA - ACTOR On this episode of the Team Deakins Podcast, we're speaking with actor Daniel Kaluuya (JUDAS AND THE BLACK MESSIAH, GET OUT, SICARIO). A former class clown from Camden Town, Daniel describes his early initiation into the London youth theatre and arts scene up until being scouted to write and act on the popular British show SKINS. We had the pleasure of working with him on SICARIO, and he reveals how much the production changed his perception of acting and empowered him to try "doing nothing" in a scene. We learn about the discipline he applies during prep to inhabit his characters, and we discuss the particular challenges and responsibilities of playing Fred Hampton in JUDAS AND THE BLACK MESSIAH. Later, Daniel discusses his preparation for GET OUT and reflects on his experience being the face of a film that blew up far beyond his initial expectations. Daniel also reveals what he learned about himself following a year-and-a-half-long sabbatical from acting after shooting SICARIO. Throughout the episode, Daniel shares his love for working with directors who have something to say and know what they need to shoot to say it. - Recommended Viewing: GET OUT, SICARIO - This episode is sponsored by Aputure

SEASON 2 - EPISODE 92 - DON BURGESS - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, we speak with cinematographer Don Burgess (AQUAMAN, CONTACT, FORREST GUMP). Always the outdoorsman, Don spent much of his youth and young adulthood filming sports movies and learning the ropes while hanging off them on the side of a mountain. We learn how he fell in with director Robert Zemeckis in a pivotal meeting to shoot FORREST GUMP and how they typically prepare and work together through production. We also discuss Don's night work on CAST AWAY and the difficulties of working on a tropical island. We reflect on deriving strength from longtime crew members, and Don reveals how, after the introduction of film incentives, he's since developed local crews around the world. Later, Don gives us a recent example of when he was able to remotely DP a shot across the Pacific Ocean with his trusted New Zealand crew. Among his many illustrious credits, Don can also boast of surviving the 2nd unit on the arduous production of director William Friedkin's SORCERER. - This episode is sponsored by Godox

SEASON 2 - EPISODE 91 - LIZA BAMBENEK - 1ST AC 1st assistant cameraperson Liza Bambenek (THE CURSE, THE BALLAD OF BUSTER SCRUGGS, SICARIO) joins us on this episode of the Team Deakins Podcast. We get a full breakdown of the camera department in this episode, and we discuss the duties and responsibilities of the different positions with Liza. We had the pleasure of working with her on SICARIO and NO COUNTRY FOR OLD MEN, and we can attest to her expertise. From small town Minnesota down a winding path to Santa Fe, Liza reflects on her life and career throughout the episode, and we consider the qualities we find most helpful in a member of the team and the characteristics commonly found in the world of filmmaking that inspire us to keep creating. We also discuss the importance of mentorship and the strength and responsibility of admitting that you don't know something to your teammates. Liza later reflects on the evolution of female representation in the camera department and in crews overall, and she shares how the Santa Fe film market has matured since its implementation of film incentives.  - This episode is sponsored by Godox

SEASON 2 - EPISODE 90 - DENNIS MUREN - VFX SUPERVISOR Visual effects supervisor Dennis Muren (JURASSIC PARK, TERMINATOR 2: JUDGEMENT DAY, STAR WARS: RETURN OF THE JEDI) joins us on this episode of the Team Deakins Podcast to discuss his lifelong craft. From playing with stop motion to working on the original STAR WARS, Dennis was interested in visual effects at an early age, and throughout the episode he reflects on the evolution of the field following the advent of computer generated imagery. We learn how Dennis prioritizes emotionality when building VFX into a shot and how he consults with a director and the crew  to come up with the best shots for the film. We also learn about the shift away from using models towards computer generated imagery and about the loss of certain aspects of reality that came with transition. We discuss the focusing power of deadlines, and Dennis later shares some advice for young filmmakers looking to breaking the field of VFX. Also included: how Dennis set up a prehistoric video call to coordinate the VFX of JURASSIC PARK across the globe with director Steven Spielberg in 1993. - This episode is sponsored by Godox

SEASON 2 - EPISODE 89 - ELLEN MIROJNICK - COSTUME DESIGNER Costume designer Ellen Mirojnick (OPPENHEIMER, WALL STREET, FATAL ATTRACTION) joins us on this episode of the Team Deakins Podcast. A born and bred New Yorker, Ellen jumped right into costume design on a low-budget feature in New Orleans where she quickly (and easily) took to the role as the department head. She later spent two films working and studying under famed costume designer Sandy Powell before being recruited by director Adrian Lyne to work on FATAL ATTRACTION (one of many films in which she would work with actor Michael Douglass). During our discussion of OPPENHEIMER, Ellen shares the notes she received from director Christopher Nolan that informed her approach to the design of the film's costumes and reflects on the challenge posed by needing to design costumes that could be shot in black-and-white in one setup and in colour in the next. Ellen also reflects on the challenge of designing the film's costumes to seamlessly reflect changes in time without losing the characters across numerous decades of story. Towards the end, we discuss the importance of creating costumes that are not only right for the period, but right for the actors who need to wear them. - This episode is sponsored by Godox

SEASON 2 - EPISODE 88 - JOHN KNOLL - VFX SUPERVISOR On this episode of the Team Deakins Podcast, VFX supervisor John Knoll (THE BATMAN, ROGUE ONE, PIRATES OF THE CARIBBEAN) joins us to talk about his career and his craft. Despite growing up among an academic family of engineers, scientists, and medical professionals, John fell in love with the fantastic imagery of cinema and television, and he saw miniature work as his way into filmmaking. From cold-calling Industrial Light & Magic at 15 to later working for them, John reflects on his life as one who turns hobbies into professions, and we learn how John fuses technology with art in his work. John reveals, with great clarity, how slit-scans are actually composed and shares how he used the effect to generate the illusion of the Starship Enterprise entering and exiting warp speed. We later discuss the leadership responsibilities of being a supervisor, including giving negative feedback in such a way that elevates a collaborator's work. Towards the end, we also discuss the enduring appeal of miniatures for audiences and filmmakers alike. In addition to his work in VFX, John (alongside his brother Thomas) invented Photoshop, the popular photo-editing software used around the world. - This episode is sponsored by Godox

SEASON 2 - EPISODE 87 - STEFAN DECHANT - PRODUCTION DESIGNER Production designer Stefan Dechant (REBEL MOON, THE TRAGEDY OF MACBETH, WELCOME TO MARWEN) joins us on this episode of the Team Deakins Podcast. We worked with Stefan on TRUE GRIT and JARHEAD, and it was great catching up with him. Like many other young boys of the 70s, Stefan became enchanted with STAR WARS, and (while attending school in Cincinnati, Ohio) lied his way to a gig working on JURASSIC PARK. His first love was storyboards, but he soon found his design and illustration skills best suited a career in art direction and production design. Stefan shares how his time drafting storyboards informs his approach to production design, and we also discuss the integration of emerging technologies in filmmaking today and tomorrow. We also hear about Stefan's experience working with director Joel Coen and cinematographer Bruno Delbonnel on THE TRAGEDY OF MACBETH and learn how they carved the film's expressionistic and abstract sets out of light. - Recommended Viewing: THE TRAGEDY OF MACBETH - This episode is sponsored by Godox

SEASON 2 - EPISODE 86 - DIANNA FREAS - SET DECORATOR On this episode of the Team Deakins Podcast, we're joined by set decorator Dianna Freas (FOR ALL MANKIND, LONE STAR, THUNDERHEART). Studying illustration and fine arts at Syracuse and Parsons, she later attended NYU and found her skills well suited to set design. After an early career period working as a co-production designer alongside husband and production designer Dan Bishop, Dianna transitioned to set decoration full time. Throughout the episode, Dianna defines some of the myriad of roles within the art and set decoration departments. What are lead men? How does she work with a buyer? What does the set decoration coordinator typically oversee? Who keeps the books? Who's responsible for that lamp? The demarcations are many, the responsibilities are numerous, and Dianna maps it all out for us with clarity. We later extoll the virtue of flexibility, and Dianna gives advice to anyone looking to break into the art department. - This episode is sponsored by Godox & the Dallas Film Commission

SEASON 2 - EPISODE 85 - HANS ZIMMER - COMPOSER Composer Hans Zimmer (DUNE, INTERSTELLAR, THE LION KING) joins us on this episode of the Team Deakins Podcast. Hans takes us back to his early career working the espresso machine for composer Stanley Myers and later making runs for director Bernardo Bertolucci on THE LAST EMPEROR before reflecting on his experience composing the score for the South Africa-set, anti-apartheid film A WORLD APART. We later discuss the purpose of score in a film and how Hans works to create an environment in which a director's story can unfold, as does a cinematographer. We learn what Hans is really doing when he's procrastinating, and we weigh the value of being original and being good. We also trade notes on working with director Denis Villeneuve, and Hans reveals his deeply personal connection to the score and story of THE LION KING. Towards the end, Hans opines that the Hollywood sound is really made in London, and he revels in the joy of conducting an orchestra that has played everything until he brings his original score to their stands. - This episode is sponsored by the Dallas Film Commission & Godox

SEASON 2 - EPISODE 84 - WIM WENDERS - WRITER / DIRECTOR Writer and director Wim Wenders (PERFECT DAYS; WINGS OF DESIRE; PARIS, TEXAS) joins us on this episode of the Team Deakins Podcast. Early on in the conversation, Wim recounts waiting in the toilet stalls as a student in Paris and watching over 1000 movies in a year before realizing working in film was his way forward. Wim walks us through his first three features, including a disastrous visit to the Venice Film Festival, and reveals how those experiences led to the genesis of his first road movie: ALICE IN THE CITIES. After a winding trip through the American West, Wim was wooed by colour photography and reveals how he and late, great Sam Shepard willed PARIS, TEXAS into existence. Wim later reflects on wrestling with expectations on its followup, WINGS OF DESIRE, and the welcoming invitation to study toilets in Japan that led to the wonderful PERFECT DAYS, which he likens to a documentary about a fictional character. We also learn which of Wim's many films is his favourite, and we venture a guess at the future of filmmaking and filmgoing. - This episode is sponsored by Godox & the Dallas Film Commission

SEASON 2 - EPISODE 83 - PAUL SCHNEIDER - ACTOR On this episode of the Team Deakins Podcast, we speak with actor Paul Schneider (BRIGHT STAR, THE ASSASSINATION OF JESSE JAMES, GEORGE WASHINGTON). Growing up in a small town in North Carolina, Paul shares how working in film and television never crossed his mind until a pivotal viewing of Jane Campion's THE PIANO. Attending film school following the encouragement and support of a high school teacher, Paul studied editing but found himself frequently cast in his friends' short films, culminating in a performance in GEORGE WASHINGTON, shot entirely by his film school friends. Paul later shares how, to prepare for a role in Jane Campion's BRIGHT STAR, he practiced his Scottish accent by studying a copy of TRAINSPOTTING. We later discuss the importance of a director having a clear vision for a film and loving a collaborative director who includes their crew and cast in their creative decision making process. Paul also reveals the secret character trait that informed his character in JESSE JAMES, and we discuss the emotional mathematics of the collaboration found in filmmaking that result in a film's final cut. - This episode is sponsored by the Dallas Film Commission & Godox

SEASON 2 - EPISODE 82 - GARRETT BROWN - INVENTOR OF THE STEADICAM On this special episode of the Team Deakins Podcast, we speak with the inventor of the Steadicam: Garrett Brown (YENTL, THE SHINING, BOUND FOR GLORY). He not only invented the tool but also frequently operated it, breaking the new system in on MARATHON MAN, ROCKY, and BOUND FOR GLORY in a single summer in the mid-1970s. With just a high-school level of understanding of physics, Garrett was able (after a long, isolated week in a remote hotel) to think through the fundamental design of the Steadicam which is still used today—50 years after its invention. We learn about the biomechanics of the human body that informed the design of the Steadicam and of the four key aspects of the device that isolate the camera from its operator. Garrett later recounts the day he first used the prototype on BOUND FOR GLORY (its first ever use in a feature film no less!) and how the late cinematographer Haskell Wexler fought for its inclusion. Garrett also shares how Stanley Kubrick utilized the unique properties of the Steadicam while filming THE SHINING to move the camera "like a ghost" through the empty halls of the Overlook Hotel and chase the indefatigable child actor Daniel Lloyd across miles of carpet. Few people can claim to have changed the way we make movies, and Garrett is one of them. - This episode is sponsored by the Dallas Film Commission

SEASON 2 - EPISODE 81 - RICK HEINRICHS - PRODUCTION DESIGNER Production designer Rick Heinrichs (GLASS ONION, STAR WARS: THE LAST JEDI, SLEEPY HOLLOW) joins us in conversation on this episode of the Team Deakins Podcast. From doodling on his homework to drafting the fantastical worlds of Tim Burton, we cover the breadth of Rick's career in this conversation. Rick shares with us his experience studying at CalArts and learning how to think creatively from filmmakers like Alexander McKendrick and others of his caliber. Rick later reflects on his time as a starting animator at Disney and his early work in the art department before making the full transition to working as a production designer. We reminisce about our time together working on FARGO and THE BIG LEBOWSKI, and Rick shares what it was like to initially work with the Coen brothers and bring the visions in their heads into reality. During our discussion of THE LAST JEDI, Rick shares what went into creating the relatively realistic feeling prevalent throughout the film and how everyone bought into Rian Johnson's direction for its look. We also consider the importance of tone and the paramountcy of character under which we all ultimately labour.  - This episode is sponsored by the Dallas Film Commission

SEASON 2 - EPISODE 80 - JUAN JOSÉ CAMPANELLA - WRITER / DIRECTOR On this episode of the Team Deakins Podcast, writer and director Juan José Campanella (THE SECRET IN THEIR EYES, VIENTOS DE AGUA, SON OF THE BRIDE) joins us for a conversation about his career (of which we have been longtime and passionate fans). After moonlighting as a film student and watching odd-paired double bills at local theaters in Buenos Aires, Juan attended film school at NYU and eventually returned to Argentina after 10 years to continue his career. We learn how Juan and his team pulled off the stadium scene in THE SECRET IN THEIR EYES and why he conceived of the single-shot aesthetic for that particular moment in the film. Juan later shares how his longtime creative partnership with actor Ricardo Darín has developed over the years and what Juan saw in a performance of Ricardo's that made him believe he was a formidable actor. Juan also shares his approach to rehearsals and how he's helped actors justify lines that, initially, they have difficulty delivering. Towards the end, Juan reflects on the differences between television and film, the response towards a film based on its distribution strategy, and the changing tastes of audiences. -  Recommended Viewing: THE SECRET IN THEIR EYES - This episode is sponsored by the Dallas Film Commission

SEASON 2 - EPISODE 79 - DAN BISHOP - PRODUCTION DESIGNER On this episode of the Team Deakins Podcast, we speak with production designer Dan Bishop (FOR ALL MANKIND, MAD MEN, PASSION FISH). From painting scenery on MY DINNER WITH ANDRE to designing the future on FOR ALL MANKIND, Dan has seen it all. We learn how he drew from history to design the world of MAD MEN, and he reveals when and how the series transitioned from film to digital. Later, Dan, after pointing out the tools of his trade were no different from Da Vinci's for most of his career, reviews the relatively recent advances in computer software and hardware that enable him and his department to quickly and digitally construct and present design ideas. We later reflect on the quest to find the elusive "perfect location" and the varying levels of location scouts' photography skills. We also discuss the alchemy that takes place when combining light, fabrics, and colours in a physical space and the benefits and drawbacks of working on set versus on location. - This episode is sponsored by the Dallas Film Commission

SEASON 2 - EPISODE 78 - PABLO HELMAN - VFX SUPERVISOR Visual effects supervisor Pablo Helman (KILLERS OF THE FLOWER MOON, THE IRISHMAN, JARHEAD) joins us on this episode of the Team Deakins Podcast. Born in Argentina, Pablo spent his youth playing music professionally and touring South America with his band before graduating from UCLA and working for several effects houses before ultimately ending up at Industrial Light & Magic where, for the past 27 years, Pablo has hung his hat. Throughout the episode, Pablo shares how he approaches implementing VFX into a film and how he works with directors and the various heads of departments during production to ensure the effects serve the story being told. Pablo also reveals how the de-aging technology used in THE IRISHMAN was developed, how it actually works, and why its development was led with the intent to preserve an actor's performance. Later, Pablo shares several stories from working on KILLERS OF THE FLOWER MOON, from scanning and reproducing a miniature oil derrick to wrangling digital cows. Towards the end, we consider how VFX is just another tool to use to create the reality of a film and discuss why you ultimately can't escape from what you shoot. - This episode is sponsored by the Dallas Film Commission & Aputure

SEASON 2 - EPISODE 77 - PENNY ROSE - COSTUME DESIGNER Costume designer Penny Rose (PIRATES OF THE CARIBBEAN, MISSION: IMPOSSIBLE, THE COMMITMENTS) joins us on this episode of the Team Deakins Podcast. Despite dressing actors at a local theatre (as a teenager) and later working alongside fashion designer Elio Fiorucci (as an interpreter), costume design didn't occur to Penny as a career path until she found herself in the position (as the last-minute backup) on a commercial for director Adrian Lyne. Penny spent the next decade working with and learning from the preeminent English commercial directors of the time, following them into features and further developing her abilities as a costume designer. Penny later breaks down the costume department for us, and we discuss what qualities she looks for in her team members. We also learn how she builds out the look of a character with the director and the actor and of the diplomacy she exercises between the two when a disagreement arises. Towards the end, we reflect on the demands and pleasures of the vagabond lifestyle of a filmmaker. - This episode is sponsored by Aputure & the Dallas Film Commission

SEASON 2 - EPISODE 76 - DEB AQUILA - CASTING DIRECTOR Casting director Deb Aquila (CODA, LA LA LAND, SHAWSHANK REDEMPTION) joins us on this episode of the Team Deakins Podcast. Born and raised in Brooklyn, Deb grew up in an arts-loving family, whose encouragement to enter the field led her to attend NYU and study under Stella Adler. Pivoting into casting, Deb found herself working on the hit series MIAMI VICE for two seasons before growing into a veteran independent casting director. Deb breaks down what really goes on in the audition room and how she works with actors to bring out their best performances as she hunts for the right choice for a part. We learn how she works with directors after being brought on to a project, and she shares how a character can evolve over the course of the audition process. Deb later shares what her responsibilities are as a studio executive at Paramount and how she balances those with her responsibilities as a casting director. Towards the end, we discuss "casting" personalities, when hiring both the cast and crew, and the value of creating a safe space for actors to give their best performances during the shoot. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 75 - LUC MONTPELLIER - CINEMATOGRAPHER Cinematographer Luc Montpellier (WOMEN TALKING, AWAY FROM HER, AUTUMN HEARTS) joins us on this episode of the Team Deakins Podcast. Hailing from rural Canada, Luc reflects on his childhood growing up with a deep love for film and later knuckling down to get into film school, both by building his portfolio and threatening the school with an endless stream of applications until his acceptance. We learn how the Canadian government supports its country's film industry and how that support has evolved over time, and we consider the different pathways for young filmmakers to gain experience in both Canada and the United Sates. We later mine the fine details of Luc's approach to shooting the deceptively "simple" WOMEN TALKING and how he and director Sarah Polley identified when and how to visually express the women's story and their evolving characters. And, towards the end, Luc thanks us for responding to his email years ago following a difficult professional experience. - Recommended Viewing: WOMEN TALKING - This episode is sponsored by Aputure

SEASON 2 - EPISODE 74 - LISA CHURGIN - EDITOR On this episode of the Team Deakins Podcast, we're joined by editor Lisa Churgin (PITCH PERFECT, HOUSE OF SAND AND FOG, GATTACA) to discuss her career and the craft of editing. Lisa shares with us the moment she discovered filmmaking after leaving suburban New Jersey for New York City and how she survived bouncing between employment and unemployment before landing an editing gig on THE WARRIORS and working for director Woody Allen's longtime editor Susan E. Morse. Lisa later laments the general loss of the dailies process and the opportunity for younger editors to listen to the crew talk out production problems. Later likening editing to sculpting, Lisa reflects on the role of an editor and her place in the greater filmmaking process. We worked with Lisa on HOUSE OF SAND AND FOG and DEAD MAN WALKING, and she shares how she and director Tim Robbins approached the construction of the latter.  We also learn what the director-editor interview for a potential job is really about, and we bookend the episode heaping praise on dolly grips.  - Recommended Viewing: HOUSE OF SAND AND FOG, DEAD MAN WALKING - This episode is sponsored by Aputure

SEASON 2 - EPISODE 73 - INBAL WEINBERG - PRODUCTION DESIGNER Production designer Inbal Weinberg (THE LOST DAUGHTER; SUSPIRIA; THREE BILLBOARDS OUTSIDE EBBING, MISSOURI) joins us on this episode of the Team Deakins Podcast. Despite her early love for European social realist films, Inbal embarked on the immigrant dream of making it in New York City and studied film at NYU before being asked by director Hal Hartley (her favourite filmmaker at the time) to design THE GIRL FROM MONDAY. Inbal reflects on working in America as a foreigner and how that perspective influences her design choices, and we discuss handling the Mediterranean personality infrequently encountered in American productions. She later speaks of the art department as the hub through which the vision of the film is communicated to other departments and the importance of maintaining open lines of communication throughout production. Inbal also shares how she and other production designers are fighting to stay involved in the evolving design process in the face of the proliferation of VFX across all departments. Topics also include: using time in prep to learn how to work with a director, the revolving door of information we accrue and abandon when transitioning between projects, and Inbal's favourite episode of the podcast. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 72 - STEVE YEDLIN - CINEMATOGRAPHER Cinematographer Steve Yedlin (GLASS ONION, STAR WARS: THE LAST JEDI, LOOPER) joins us on this episode of the Team Deakins Podcast to discuss the nuts and bolts (and truth!) of cinematography. We touch on Steve's early-career projects and on the start of his enduring creative partnership with director Rian Johnson during their time at USC. Later, we consider the benefits and shortcomings of film school and which parts of cinematography can really be taught, and we reflect on the nature of luck in one's career. Steve shares how he and Rian approached designing the look of THE LAST JEDI and LOOPER, and he shares why, during production, he avoids focusing on things that belong in the proper domain of post. Towards the end, we discuss Steve's presentation (available on his website) concerning the nature of resolution as simply a tool of measurement and not a look maker, and we consider the seemingly newfound desire to "do it the old way" and the elusive definition of the word filmic. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 71 - DAVID OYELOWO - ACTOR / DIRECTOR On this episode of the Team Deakins Podcast, we're joined by actor and director David Oyelowo (LAWMEN: BASS REEVES, THE WATER MAN, SELMA) to discuss his career and his craft. A television-addicted latchkey kid in his youth, David later spent several years with the Royal Shakespeare Company before embarking on his career on the screen with chameleonic aspirations. While discussing his performance as Seretse Khama in A UNITED KINGDOM, we consider the steep barriers to entry for a global audience to immerse themselves in the history of a period film set in a specific African country and the power of drawing an audience in to the story through the personal rather than the political. David later reflects on his journey to play Dr. King in SELMA, describing to us how the script's focus evolved as new directors took over the project, what director Ava DuVernay said to financiers to finally get the project off the ground, and how he took inspiration from actor Daniel Day-Lewis to embody the essence of Dr. King's character. We also discuss David's directorial debut, THE WATER MAN, and how he leaned on his past collaborators to prepare for the project. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 70 - ZACH BRAFF - ACTOR / WRITER / DIRECTOR Actor, writer, and director Zach Braff (A GOOD PERSON, GARDEN STATE, SCRUBS) joins us on this episode of the Team Deakins Podcast. Zach fell in love with the arts at an early age, booking one of his first on-screen roles in Woody Allen's MANHATTAN MURDER MYSTERY and later cutting his teeth in production while PA'ing on music videos in the late 90s. He shares how the stars aligned to cast his first choices in every role on GARDEN STATE and what the impetus was to write the script in the first place. We later learn how Zach storyboards his films in prep and how he's improved his ability to delegate during production by empowering his crew to solve creative problems. Zach also reflects on his experience crowdfunding WISH I WAS HERE and the challenges of servicing 50,000 backers while actually making the film. Towards the end, Zach shares some advice for young filmmakers, and we debate releasing films directly through streamers versus in theaters and the difficulties of marketing films in today's marketplace. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 69 - CORD JEFFERSON - WRITER / DIRECTOR Writer and director Cord Jefferson (AMERICAN FICTION, WATCHMEN, THE GOOD PLACE) joins us on this episode of the Team Deakins Podcast. Born and raised in Tucson, Arizona, Cord tells us why he never considered a career in the arts and how he wrote his way onto a journalism beat after college. After transitioning into writing television and surviving the Hollywood shuffle, Cord shares why he wrote AMERICAN FICTION following a huge professional failure in 2020 and how he realized the film with the help of Rian Johnson's production company T-Street in a risk-averse industry. We dive deep into Cord's process and experiences as a first-time director and learn how he prevented the tone of the film from falling into farce. Cord later shares why he prefers the collaborative nature of filmmaking over the solitude of prose writing and why AMERICAN FICTION was the first screenplay he ever wrote purely out of passion. At the end, Cord preaches patience when asked to give a younger version of himself advice, and he dispels the myths surrounding writer's block. - Recommended Viewing : AMERICAN FICTION - This episode is sponsored by Aputure

SEASON 2 - EPISODE 68 - JAMES CHINLUND - PRODUCTION DESIGNER Production designer James Chinlund (THE BATMAN, THE AVENGERS, REQUIEM FOR A DREAM) joins us on this episode of the Team Deakins Podcast. Reflecting on his childhood, James recalls to us noting the relationship between crowds of worshipers and the inner sanctum of the Cathedral of St. John in New York while squirreled up above in its attic. While discussing James' earlier work, we consider the balance a set or location needs between stripping it to its bare essence for the scene while avoiding an overly minimal design more appropriate for the theater. As avid fans of THE BATMAN, we ask James how he worked with director Matt Reeves and cinematographer Greig Fraser over three years and through a global pandemic to bring Gotham to the screen in all its gloomy glory. James also reveals how he learned to overcome his mistrust of VFX while working on THE AVENGERS, and we ponder the future of production design amidst the current and looming advances in technology. - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 67 - ED MCDONNELL - PRODUCER On this episode of the Team Deakins Podcast, producer Ed McDonnell (SICARIO, PRISONERS, INSOMNIA) joins us in a lively conversation about his craft and his career. After producing a play at age 12 in his neighbor's garage, he survived two brief stints in Washington and on Wall Street before leaving it all behind to work in Hollywood. While charting his quick rise from assistant to executive, Ed shares the most important lesson he learned after being fired for failing to read the room during a meeting over an early draft of BEVERLY HILLS COP. Ed also discusses how he takes scripts out to directors and collaborates with them to tell the best story possible, and we later consider why we always prefer projects that promise ample amounts of collaboration over other opportunities to simply act as functionaries. Towards the end, we discuss the nature of sequels and also reflect on the value of the oft repeated question: "Do you really need that shot?" - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 66 - OLIVER STAPLETON - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, cinematographer Oliver Stapleton (THE CIDER HOUSE RULES, THE GRIFTERS, MY BEAUTIFUL LAUNDRETTE) joins us in conversation. In addition to his career as a cinematographer, Oliver is also the Co-Head of Cinematography at the National Film and Television School (NFTS) in the UK. Oliver credits his life in film to his mother and her steady hand as the family camera operator, and he shares how he created his submission film to gain admission into the NFTS after visiting the campus on a lark. We discuss how, as a cinematographer, one's job is to help the director execute their vision rather than impose your own on a film, and Oliver reveals how he grapples with finding the best way to introduce young directors and cinematographers to each other in film school. Oliver also regales us with the many tales and insights that have stuck with him from his long career. Towards the end, with a look to his past, Oliver remembers once animating Spiderman in his youth, and with a look to our future, he predicts the future of filmmaking and moviegoing. - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 65 - REED MORANO - DIRECTOR / CINEMATOGRAPHER On this episode of the Team Deakins Podcast, director and cinematographer Reed Morano (THE HANDMAID'S TALE, I THINK WE'RE ALONE NOW, MEADOWLAND) speaks with us in a career-spanning conversation. We learn how after being drafted into the position of family documentarian, Reed soon found herself drawn towards the world of filmmaking. Reed reflects on how she may or may not have gotten her first job as a cinematographer on Craigslist after film school and how shooting FROZEN RIVER changed her career. We discuss the types of projects Reed is approached for as a director and how the opportunity to tell a man's story from her perspective drew her to direct I THINK WE'RE ALONE NOW. Towards the end, we also discuss the noble folly of trying to save a script that just doesn't work.  - This episode is sponsored by FiileX

SEASON 2 - EPISODE 64 - ELLEN LEWIS - CASTING DIRECTOR On this episode of the Team Deakins Episode, casting director Ellen Lewis (KILLERS OF THE FLOWER MOON, THE DEVIL WEARS PRADA, GOODFELLAS) joins us to talk about all things casting—of which we knew very little before speaking with her. A disciple of veteran casting director Juliet Taylor, Ellen shares with us how they were first introduced and what she learned working with her for eight years. Ellen reveals how closely casting works with talent agents to find the right actor for a role and how some casting directors even directly negotiate an actor's contract. We worked with Ellen on KUNDUN, and she recounts her global odyssey to cast the 14th Dalai Lama across four separate stages of his life. We later discuss setting actors at ease, both on set and in the audition room, and how we do what we can to lift the pressure under which actors must work. Ellen also admits to us just how far she's willing to travel to go to set. - Recommended Viewing: KUNDUN - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 63 - RIAN JOHNSON - WRITER / DIRECTOR On this episode of the Team Deakins Podcast, writer and director Rian Johnson (KNIVES OUT, STAR WARS: THE LAST JEDI, LOOPER) speaks with us about his career, and, in a pleasant change of pace, he even asks us a few questions! Rian first shares his childhood memory of attending a screenwriting seminar with his father and how that experience has since informed his craft. We later learn about the father-son story at the heart of LOOPER and reflect on the differences in crew cultures between different countries. We also reminisce over floundering in your 20's and touch on Rian's enduring creative partnerships with actor Joseph Gordon-Levitt and cinematographer Steve Yedlin. While discussing THE LAST JEDI, Rian reveals which classic opera inspired the design of the throne room and under what conditions, atypical for effects-heavy filmmaking, enabled Rian and his collaborators to build extensive and grounded sets for its many scenes. Throughout the episode, Rian reflects on his abilities as a filmmaker, and we discuss the beauty of scenes that, despite being irrelevant to the plot, are emotionally correct within a given story. - Recommended Viewing: LOOPER - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 62 - DECLAN QUINN - CINEMATOGRAPHER Cinematographer Declan Quinn (HAMILTON, LEAVING LAS VEGAS, MONSOON WEDDING) speaks with Team Deakins on this episode of the podcast. A first generation immigrant from Ireland, Declan first reflects on his youth bouncing between America and his family's home country. We then ruminate on Declan's decision to spend part of his early career in Ireland and on the function of pubs as watering holes wherein a young filmmaker could, back when Roger and Declan were starting out at least, find a community with which to celebrate and commiserate over work and life. Later, Declan shares his experiences working with directors Mike Figgis and Neil Jordan and on the myriad of other films he helped bring to life. Towards the end, Declan describes the process of Broadway captures and how he filmed HAMILTON at the height of its popularity with its original cast. - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 61 - DALLAS FILM COMMISSION On this episode of the Team Deakins Podcast, we sit down with two members from the Dallas Film Commission: Tony Armer, the commissioner, and Andrew Vela, a project specialist. We pepper Tony and Andrew with questions throughout the episode. What does a film commission office actually do? How do offices differ at the state and city levels? How do they help local filmmakers? And who's responsible for incentives? Andrew and Tony (who is also one of the founders of the Sunscreen Film Festival in St. Petersburg, Florida) also answer our many questions about festivals. Should you go to your local film festival? Is it worth submitting to the bigger ones? And which festivals should you even submit to? In between all our questioning, we also learn how Tony and Andrew came to work at the Dallas Film Commission and of the various responsibilities of their roles within it.  - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 60 - DAVID LOWERY - WRITER / DIRECTOR Team Deakins speaks with writer and director David Lowery (PETER PAN & WENDY, A GHOST STORY, AIN'T THEM BODIES SAINTS) on this episode of the podcast. David credits his early childhood obsession with STAR WARS (despite having not seeing the films at the time) for his lifelong obsession with filmmaking, and he walks us through his early career working in independent film in Texas. We dive deep into the making of AIN'T THEM BODIES SAINTS and A GHOST STORY, learning how David developed the title for the former and how his collaborators pulled off the Ghost's costume by utilizing the old-fashioned illusions of cinema for the latter. We also consider the danger of being beguiled by "cool shots" and how a good title can complement the tone of its film. We also touch on David's favourite topic: film financing! - Recommended Viewing: A GHOST STORY, AIN'T THEM BODIES SAINTS - This episode is sponsored by Fiilex  

SEASON 2 - EPISODE 59 - KELLEY DIXON - EDITOR On this episode of the Team Deakins Podcast, editor Kelley Dixon (OBI-WAN KENOBI, THE GOLDFINCH, BREAKING BAD) joins us for a conversation about all things editing. Kelley starts by sharing her experience working in the MGM/UA mailroom and delivering script pages to the editorial department where she quickly found herself helping cut scenes. Kelley later describes learning the potential applications of visual effects if money is no object and how that insight expanded her way of thinking when approaching editorial problems on projects with relatively larger budgets. We discuss how editing can be used to bring the audience into the state-of-mind of a character and how Kelley works with a director to realize their vision in the edit. Throughout the episode, we debate whether or not editing is an invisible art, and we contemplate our favourite note: "Can you just make it better?" - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 58 - ERNEST DICKERSON - DIRECTOR / CINEMATOGRAPHER Director and cinematographer Ernest Dickerson (BOSCH, JUICE, MALCOLM X) joins us in conversation on this episode of the Team Deakins Podcast. Having been exposed to photography as a young man by his uncle, Ernest first keyed into cinematography after watching David Lean's OLIVER TWIST and later attended graduate film school at NYU. Ernest reflects on his professional relationship with Spike Lee and reveals how Spike generously delayed pre-production on MALCOM X to allow Ernest enough time to finish post on his directorial debut, JUICE. Finding himself frequently directing his directors, Ernest also shares how he saw his transition into directing as a natural progression of his career. We later discuss the value of doing your homework when brought on to direct television and the different professional expectations that are unique to the medium. At the end, we consider how creation is a patient search and the importance, joys, and benefits of studying film history.

SEASON 2 - EPISODE 57 - FRANKLIN LEONARD - FOUNDER OF THE BLACK LIST Franklin Leonard, the founder of The Black List, joins us on this episode of the Team Deakins Podcast for a fascinating conversation. Franklin, a Harvard-educated military brat, starts by recounting his many travels across continents and industries before finding his footing as an assistant in the motion picture literary department at CAA. Having transitioned into development, Franklin shares how The Black List was born out of an innate desire to do better in his job as a junior executive at the time. We learn how The Black List has since evolved and how Franklin's experiences influenced those evolutions to address industry access issues. We later consider what makes a good script, the inherent subjectivity of evaluating art, and how a script appearing on the list can vindicate one's interest in "weird" material. Franklin stresses how the ultimate goal should not be to get on The Black List but to get your movie made, and he exposes the psyops he executes to avoid leaking which scripts end up on the list.   The Black List is an annual list of the most-liked scripts circulating within Hollywood in a given year, and it has served as a valuable industry tool for filmmakers since its inception.

SEASON 2 - EPISODE 56 - RYAN WHITE - DIRECTOR Director Ryan White (GOOD NIGHT OPPY, THE KEEPERS, ASSASSINS) joins us on this episode of the Team Deakins Podcast to discuss his career and the field of documentary filmmaking. Born and raised in Dunwoody, Georgia, Ryan later enrolled in Duke University where he found his calling to direct documentaries after watching Agnès Varda's THE GLEANERS AND I. After welcoming him on the podcast, Ryan starts off strong by revealing how he's used previous episodes to study a particular department to help secure a job. He reflects on the state of the industry in which he came up that forced him to begin directing in his mid-20s and laments how today's industry can delay a young filmmaker from taking their first steps towards starting a career by employing them to assist those already established. We later learn how Ryan prefers to shoot his documentaries as intimately as possible over several years and how he and his producing partner Jessica Hargrave have typically sold their projects to distributors. Throughout our discussion, we reaffirm the value of learning by doing, of believing in your stories and talents when leaving the nest, and of listening to your mother. - Recommended Viewing: THE KEEPERS, GOOD NIGHT OPPY - This episode is sponsored by Dallas Film Commission 

SEASON 2 - EPISODE 55 - JOHN SAYLES - ACTOR / WRITER / DIRECTOR / NOVELIST Actor, writer, director, and novelist John Sayles (MATEWAN, BROTHER FROM ANOTHER PLANET, LONE STAR) joins Team Deakins on this episode of the podcast for a discussion covering his long career in filmmaking and in fiction writing. A true multi-hyphenate, John first describes his postgraduate journey from working in an Italian sausage factory to enlisting in the Roger Corman film factory. John reflects on his luck having his first three screenplays produced under the legendary filmmaker and on the lessons he learned shooting his self-funded first feature. Working chiefly in independent American cinema, John considers the times and the market in which he came up that facilitated his filmmaking and offers advice for young filmmakers today. Among the many other topics of discussion, we consider the following: how John decides which medium best serves a story, the benefits of cutting in your head during production, and how comfortable an actor may or may not feel working out of an Econo Lodge in West Virginia.  - This episode is sponsored by Dallas Film Commission 

SEASON 2 - EPISODE 54 - BILL HADER - ACTOR / DIRECTOR / SHOWRUNNER Actor, director, and showrunner Bill Hader (BARRY, INSIDE OUT, THE SKELETON TWINS) joins Team Deakins to discuss his multi-faceted career in one of our funnier conversations. Reared in Tulsa, Oklahoma, Bill describes how he first rode into town despite an early setback being rejected from film school for being "too entertaining." We later drive down memory lane as Bill recounts several exciting but terrifying stories of PA'ing on low-budget films around LA—stops include a seven camera setup (all pointed at a map), watching us wrap early on THE MAN WHO WASN'T THERE (with envy), and learning what a controlled burn is (and maybe isn't). Bill also shares his experience co-showrunning BARRY with Alec Berg, a discussion ranging in topics from "what is a tone meeting?" to which takes actor Henry Winkler consistently nails his performance. At the end, Bill discusses his post-BARRY aspirations and the longevity of classic films that, despite their imperfections, stand tall today on the merits of their craft. - This episode is sponsored by Dallas Film Commission 

SEASON 2 - EPISODE 53 - JENNY BEAVAN - COSTUME DESIGNER Acclaimed costume designer Jenny Beavan (MAD MAX: FURY ROAD, CURELLA, A ROOM WITH A VIEW) joins us for a conversation about her craft on this episode of the Team Deakins Podcast. Hailing from England, Jenny shares how she fell in with the famed Merchant Ivory troupe, and she describes spending her early formative professional years traveling around the world and working alongside the legendary filmmakers. We later consider how, just as with real people, characters reuse clothing and how some costume pieces take on a life of their own. Jenny also reflects on how she adapts after having the wool pulled over her eyes on a project and how designing costumes is never about the clothes themselves but about the stories they tell. At the end, Jenny is generous enough to offer salient advice to budding costume designers. - This episode is sponsored by Dallas Film Commission 

SEASON 2 - EPISODE 52 - AVA DUVERNAY - WRITER / DIRECTOR On this episode of the Team Deakins Podcast, we sit down with writer and director Ava DuVernay (WHEN THEY SEE US, 13TH, SELMA) for a lively conversation about her career and her craft. Ava credits her early love for cinema to her classic-film-loving, night-shift-working aunt, and she describes the lightbulb moment while on location of Michael Mann's COLLATERAL that catalyzed her transition from running her own boutique publicity agency to filmmaking. Ava later shares David Oyelowo's persuasive pitch to her to direct SELMA, what changes she made to the script to make the film within its relatively modest budget, and how Oprah lent her influence during the shooting of a pivotal scene. After Ava reveals her newfound love for dailies while shooting her latest feature, we consider the viewing ritual's collaborative nature, its widespread decline in use, and Ava's commitment to the process in her future projects. Plus, at the end, Ava tells us which photo of Roger inspires her the most. - This episode is sponsored by Dallas Film Commission 

SEASON 2 - EPISODE 51 - GREIG FRASER - CINEMATOGRAPHER - THE BATMAN - PART 2 On this episode of the Team Deakins Podcast, we're sharing the rest of our previously live-streamed conversation between Team Deakins and cinematographer Greig Fraser diving into his work on THE BATMAN. We start by talking all things lighting, and Greig shares how he and his team used non-film light fixtures to achieve a natural look in the film. We later discuss the importance of on-set chemistry and how a great attitude can outweigh experience when crewing. Greig shares how his team worked to match the menace of the Batmobile with the truck in Steven Spielberg's DUEL and how closely he worked with the art department during production. Greig also reveals which light best complimented Zoë Kravitz's makeup, and he pulls into focus the potential applications of an adjustable depth of field in the Volume lighting system.   A link to the images mentioned in the episode can be found here. - This episode is sponsored by Dallas Film Commission & Falca

SEASON 2 - EPISODE 50 - GREIG FRASER - CINEMATOGRAPHER - THE BATMAN - PART 1 On this episode of the Team Deakins Podcast, we're sharing the first half of our live-streamed conversation between Team Deakins and cinematographer Greig Fraser focusing on his work on THE BATMAN. Greig describes to us what drew him to work on the project in the first place and how, even with COVID delays, he and director Matt Reeves still needed more time to prep. Greig reveals the early conversations he had with Matt about the potential applications of the Volume lighting system and how the interactivity of their intended lighting design precluded the use of bluescreen. We later consider the emotional impact of time of day and, in the face of recent technological advances, the irreplaceability of real actors. We discuss the film's strength as a character piece and how those characters informed Greig's design decisions, and we also pull back the cowl on the practicality of superhero capes.   A link to the images mentioned in the episode can be found here. - This episode is sponsored by Falca & Dallas Film Commission

SEASON 2 - EPISODE 49 - RUTH DE JONG - PRODUCTION DESIGNER Team Deakins is joined by talented production designer Ruth De Jong (OPPENHEIMER, NOPE, MANCHESTER BY THE SEA). A creative scion of the accomplished production designer Jack Fisk, Ruth explains how Jack recruited her to assist him on THERE WILL BE BLOOD and the subsequent ten year partnership in which he was her mentor. She later reflects on how she's grown after each project as well as how to stay malleable after the train that is production leaves the station. Ruth also describes the invigorating responsibility she felt to deliver on OPPENHEIMER after director Christopher Nolan cut days from the schedule to balance the film's budget and the timely encouragement he gave her deep in production. She also shares her experiences working on TWIN PEAKS: THE RETURN and how she worked off illustrations and paintings created by David Lynch to build and design the series' many scenes. - Recommended Viewing: OPPENHEIMER - This episode is sponsored by TrueCut Motion & Dallas Film Commission & Falca

SEASON 2 - EPISODE 48 - RYAN COOGLER - WRITER / DIRECTOR On this episode of the Team Deakins Podcast, we're sharing our thoughtful conversation with writer and director Ryan Coogler (BLACK PANTHER, CREED, FRUITVALE STATION). An Oakland native, Ryan reveals how film became his family's second language and how his parents fostered his interest in cinema throughout his childhood. Later in our discussion, Ryan shares how he brought an athlete's mentality to film school by always trying to score a touchdown every time he picked up the camera to prove to himself and to those around him that he could build a career in filmmaking. Ryan also reflects on creating CREED with Sylvester Stallone, praising him as "the perfect collaborator" and acknowledging how he couldn't begrudge the creator of the ROCKY franchise for his cautiousness towards handing over writing duties for the first time in the franchise's history. We also discuss how the filmmakers that broke through in the culture Ryan consumed in his youth influenced his professional direction and how, by relying on his crew, Ryan is free to focus on his actors. - This episode is sponsored by Dallas Film Commission & Falca & TrueCut Motion

SEASON 2 - EPISODE 47 - BENICIO DEL TORO - ACTOR Team Deakins speaks with actor Benicio del Toro (SICARIO, TRAFFIC, THE FRENCH DISPATCH). Benicio expresses his gratitude to the Stella Adler Studio for serving him as a bastion in which he weathered the storm of rejections he faced early in his career. We discuss the definition of heroes on screen and what it means to play them, and Benicio considers the different demands of acting in superhero films in comparison to more grounded projects. We walk down memory lane remembering working together on SICARIO. Towards the end, we reflect that no production is the same experience and not one was the experience we thought it would be. - This conversation was recorded on May 2, 2023. - This episode is sponsored by Falca & TrueCut Motion & Dallas Film Commission

SEASON 2 - EPISODE 46 - SARAH POLLEY - WRITER / DIRECTOR / ACTOR Team Deakins sits down with writer, director, and actor Sarah Polley (WOMEN TALKING, STORIES WE TELL, AWAY FROM HER) on this episode of the Team Deakins Podcast. In the beginning, Sarah discusses her early career in acting and how she stepped away to focus on political activism. We later ask Sarah about the challenges transitioning from acting to directing, and she describes realizing that even if she didn't consider herself an expert in the role, she recognized that she was the expert in the stories she was deciding to tell. At one point, Sarah credits director Atom Egoyan with setting the template for creating meaningful experiences making meaningful films which she applies to her own projects. Also revealed: which Sidney Lumet film Sarah found the most helpful to study while working on WOMEN TALKING. - Recommended Viewing: WOMEN TALKING - This episode is sponsored by TrueCut Motion & Falca  

SEASON 2 - EPISODE 45 - SANTIAGO MITRE - WRITER / DIRECTOR Team Deakins enjoys a conversation with writer and director Santiago Mitre (ARGENTINA, 1985; PAULINA; THE SUMMIT) on this episode of the podcast. Santiago begins by telling us how he found his way to filmmaking at an early age and how his politically active family informed the subjects of his films. Later, we discuss using cinema to think about the problems of one's country, and Santiago expresses his growing interest in exploring Argentinian history on-screen following his experience creating ARGENTINA, 1985. We also touch on the film's global resonance today and its cathartic reception by Argentinean audiences. Towards the end, Santiago shares how he re-cast a major role in the riotous PETITE FLEUR and the lessons he learned from the film's production that he applied to ARGENTINA, 1985. - Recommended Viewing: ARGENTINA, 1985; PAULINA - This episode is sponsored by Falca & TrueCut Motion  

SEASON 2 - EPISODE 44 - PAUL MESCAL - ACTOR Team Deakins sits down with actor Paul Mescal (AFTERSUN, NORMAL PEOPLE, GOD'S CREATURES) on this episode of the podcast. During our thoughtful conversation, Paul reveals the advice he received from actor Emily Watson and from his Gaelic football coach that he applies to his craft every day. We also discuss his work on AFTERSUN, and Paul heaps praise on the script and the direction of the film which attracted him to the project. We later discuss the pros and cons of shooting in and out of continuity, and we commiserate over the unproductiveness of scheduling scenes without considering their dramatic functions within the overall piece.  - Recommended Viewing: GOD'S CREATURES - This episode is sponsored by TrueCut Motion & Falca  

SEASON 2 - EPISODE 43 - MATT REEVES - DIRECTOR Team Deakins sits down with director Matt Reeves (THE BATMAN, CLOVERFIELD, WAR FOR THE PLANET OF THE APES) for a fascinating discussion. Matt indulges our appreciation for the craft behind THE BATMAN and shares how he and his collaborators envisioned Gotham and Batman as a city and as a person that could exist within our own world. We discuss how Matt's use of visual effects has evolved and the importance of references to maintain a level of reality in fully computer-generated shots. Throughout the episode, Matt reflects on how he spent much of his career learning how to have a career and how every new project is like enrolling in film school all over again. - Recommended Viewing: CLOVERFIELD - This episode is sponsored by Falca & TrueCut Motion  

SEASON 2 - EPISODE 42 - DAVE CHAMEIDES - CAMERA AND STEADICAM OPERATOR Today, Team Deakins is joined by camera and steadicam operator Dave Chameides (SNOWFALL, THE WEST WING, ER) on the latest episode of the podcast. During our conversation, we discuss the effectiveness of the cinematography in 1917 and Dave's contribution to the creation of the final shot in ST. VINCENT. We also consider the responsibility an operator has towards the actors in front of the lens and the role of camera operation in storytelling. Towards the end, Dave also shares advice for anyone interested in steadicam operation as a possible career path. - This episode is sponsored by TrueCut Motion & Falca

SEASON 2 - EPISODE 41 - JOHN DE BORMAN - CINEMATOGRAPHER Team Deakins is happy to share our conversation with cinematographer John de Borman (AN EDUCATION, THE FULL MONTY, THE MIGHTY) on this episode of the podcast. We discuss working with different types of directors and battling the increasingly complex logistics of modern filmmaking and the ballooning number of  crew sizes on projects. We also share our experiences working with actors of varying dispositions and the puzzles that arise during production to bring out their best performances. Finally, John offers advice for future cinematographers and highlights a skill he developed that elevated and enriched his work. - This episode is sponsored by Falca & TrueCut Motion

SEASON 2 - EPISODE 40 - HELEN KEARNS - EDITOR Team Deakins is happy to host editor Helen Kearns (GOOD NIGHT OPPY, THE KEEPERS, ASSASSINS) on this episode of the podcast. Helen reveals how earlier studio involvement in financing and distribution has affected documentary filmmaking, both in helpful and disruptive terms. We discuss the challenges (and comforts) of editing GOOD NIGHT OPPY during the pandemic and the finding the balance between telling a story and being honest when editing documentaries. - This episode is sponsored by TrueCut Motion & Falca

SEASON 2 - EPISODE 39 - RUTH E. CARTER - COSTUME DESIGNER Wake up! Today's Team Deakins Podcast forecast: costume designer Ruth E. Carter (MALCOLM X, BLACK PANTHER, LOVE & BASKETBALL). In an insightful conversation, Ruth shares how she integrated 3D printing into the design and production of costumes for BLACK PANTHER: WAKANDA FOREVER and how she collaborates with the visual effects department to augment her designs. Ruth also reveals how she intuits a director's potential reaction to costume ideas based on how they themselves dress. Finally, we clarify what are and are not a costume designer's responsibilities, and Ruth advocates for the increased participation of the costume designer in pre-production and post-production.    You won't regret listening to this episode, "and that's the double truth, Ruth!" - This episode is sponsored by TrueCut Motion

SEASON 2 - EPISODE 38 - PATRICK TRESCH - CINEMATOGRAPHER Team Deakins is happy to have cinematographer Patrick Tresch (MY ENGLISH COUSIN, DIRTY GOLD WAR, MOTHER LODE) on today's new episode of the podcast. We discuss gaining a documentary subject's trust in the early stages of a project and the difficulties of filming someone who intellectually agrees to be filmed but subconsciously resists. Patrick also shares the insight he gained into how people relate with their environment after filming the indigenous peoples of the Amazon, and he reveals what it took to make his mother finally understand what it is exactly he's doing. - This episode is sponsored by TrueCut Motion

SEASON 2 - EPISODE 37 - PETER SARSGAARD - ACTOR Team Deakins is happy to host actor Peter Sarsgaard (THE BATMAN, BOYS DON'T CRY, JARHEAD) on today's new episode of the podcast. Peter shares the types of projects he prefers to work on and the different forms of direction he finds effective. We learn how he became involved in THE BATMAN, and he recounts the grueling six-day-long shoot he survived to capture his pivotal scene in the film. We were so happy to speak with Peter, and we hope you enjoy what he has to say! - This episode is sponsored by TrueCut Motion

SEASON 2 - EPISODE 36 - STUART WILSON - SOUND MIXER - THE BATMAN Team Deakins is glad to welcome back sound mixer Stuart Wilson (THE BATMAN, THE RISE OF SKYWALKER, SPECTRE) to discuss his wonderful work on THE BATMAN. Stuart shares how his team used the film's costumes to their advantage when miking the actors, and we learn how they utilized Catwoman's wigs to hide mics when the catsuit often offered no other options. We also learn how Stuart juggled a myriad of mixes simultaneously to facilitate communication between the actors and the director between and during takes. We hope you enjoy the episode! - This episode is sponsored by TrueCut Motion

SEASON 2 - EPISODE 35 - RUSSELL CARPENTER - CINEMATOGRAPHER Team Deakins speaks with cinematographer Russell Carpenter (TITANIC, TRUE LIES, AVATAR: THE WAY OF WATER) on this episode of the podcast. We dive headfirst into Russell's professional relationship with director James Cameron, beginning with a chance encounter at a local TV station that led to Russell working on some of the biggest movies in history. Russell also shares his appreciation for the technical challenges of working on Cameron's films and describes the sink-or-swim nature of filming TITANIC. We later discuss being submerged in anxiety when starting out and mustering the courage and discipline to put yourself out there. We also touch on developing a 'cinematic immunity' during production that instills the supernatural confidence needed to shoot a film. Wading through the years-long process of shooting AVATAR: THE WAY OF WATER, Russell describes the unique environment Cameron created to realize the film. Additionally, we compare working on smaller, less effects-heavy projects with the contrary and discuss the joys of knowing what you got on the day and the immediacy of that type of filmmaking. - This episode is sponsored by TrueCut Motion

SEASON 2 - EPISODE 34 - CAROLINE THOMPSON - WRITER / DIRECTOR Team Deakins is happy to share our conversation with writer, director, and novelist Caroline Thompson (EDWARD SCISSORHANDS, BLACK BEAUTY, THE NIGHTMARE BEFORE CHRISTMAS). We talk about the life of a screenwriter and the commitment Caroline demonstrated throughout her career. No other episode has featured this much discussion on animals and filmmaking! We cover working with horses on BLACK BEAUTY, apes on BUDDY, and birds in THE SECRET GARDEN. Caroline offers insight into the creative and logistical challenges of working with animals and of their unpredictable but inimitable benefits when compared to their digital counterparts. Towards the end of our conversation, Caroline also shares some straightforward advice for young screenwriters and filmmakers. Enjoy the episode! - This episode is sponsored by TrueCut Motion

SEASON 2 - EPISODE 33 - STEVE NICOLAIDES - PRODUCER Team Deakins is pleased to share our conversation with producer Steve Nicolaides (BOYZ N THE HOOD, WHEN HARRY MET SALLY, A FEW GOOD MEN). We discuss the shell game that is building and balancing the budget for a film before and during production, and Steve shares his thoughts on the role of the producer in post-production. At the end of our conversation, Steve leaves us with some wisdom for budding producers and production managers. We hope you enjoy the episode!  - This episode is sponsored by TrueCut Motion

SEASON 2 - EPISODE 32 - KATE MCCULLOUGH - CINEMATOGRAPHER Team Deakins is pleased to share our conversation with the talented cinematographer Kate McCullough (THE QUIET GIRL, NORMAL PEOPLE, MONSTER). We talk with Kate about how she applies the skills she developed while shooting documentaries onto her narrative projects. We also dive into what she was looking for in locations and her strategies in framing and composition on THE QUIET GIRL. We had such a nice time speaking with Kate, and we hope you enjoy listening to what she has to say just as much! - This episode is sponsored by TrueCut Motion

SEASON 2 - EPISODE 31 - KOKAYI AMPAH - LOCATION MANAGER Location manager Kokayi Ampah (THE COLOR PURPLE, THE SHAWSHANK REDEMPTION, MILLION DOLLAR BABY) reunites with Team Deakins and shares his wisdom gleaned from his long career. Kokayi answers our many questions and details both the creative and logistical day-to-day work that goes into location management. He also shares how he views the role as a function in the greater filmmaking process. Towards the end of our conversation, Kokayi even asks us a couple of questions! There's a lot to learn from Kokayi, and we hope you enjoy listening to him as much as we did!

SEASON 2 - EPISODE 30 - CHAYSE IRVIN - CINEMATOGRAPHER Team Deakins chats with the creative cinematographer Chayse Irvin (BLONDE,  BLACKKKLANSMEN, HANNAH) about filmmaking and his career. We discuss the benefits of preparing for a scene and then finding it on the day, and Chayse describes how he brings an audience into his work through his compositions. Chayse speaks on his ongoing collaboration with artist and director Khalil Joseph and the unique and artistically productive environment he creates. Roger and James also dive into Chayse's work on Andrew Dominik's BLONDE and the similarly unique challenges he faced when shooting the film. We hope you enjoy the episode! - Recommended Episode Viewing: BLONDE, HANNAH

SEASON 2 - EPISODE 29 - BENJAMIN CARON - DIRECTOR Today, we're happy to share our lively and humorous conversation with director Benjamin Caron (SHARPER, ANDOR, THE CROWN). We discuss Ben's early TV movie TOMMY COOPER: NOT LIKE THAT, LIKE THIS and the challenges he overcame to make it, as well as a reflection on Tommy Cooper himself. We also dive into Ben's experience filming SHARPER and finding the right ending for the film. We hope you enjoy the episode!  - Recommended Episode Viewing: TOMMY COOPER: NOT LIKE THAT, LIKE THIS

SEASON 2 - EPISODE 28 - BILLY WILLIAMS - CINEMATOGRAPHER Cinematographer Billy Williams, BSC (WOMEN IN LOVE, ON GOLDEN POND, GANDHI) has seen it all, and he's sharing a generous amount of that with us on today's episode of the Team Deakins Podcast. Billy reveals what it was like to work with the spirited and thoughtful Katherine Hepburn and Henry Fonda on ON GOLDEN POND as well as his thoughts on Ben Kingsley's transformative performance in GANDHI. The advances in digital cameras and the effect on lighting design are discussed, and Billy recounts the difficulties of grading footage of a baby that, over the course of 12 takes of crying, turned purple. We hope you all enjoy this conversation as much as we did. - Recommended Episode Viewing: WOMEN IN LOVE, ON GOLDEN POND, GANDHI

SEASON 2 - EPISODE 27 - ZAYNE AKYOL - DIRECTOR Team Deakins shares our conversation with director Zayne Akyol (ROJEK; GULISTAN, LAND OF ROSES). Having shot two feature-length documentaries in dangerous environments, Zayne reflects with Roger & James on the therapeutic limits of filmmaking and the unique life experiences presented to documentary filmmakers. She speaks on her collaboration with her cinematographers and knowing when and what to shoot, even while soldiers shoot at their drone on its maiden flight over a land on fire. We hope you enjoy the episode! - Recommended Episode Viewing: ROJEK; GULISTAN, LAND OF ROSES

SEASON 2 - EPISODE 26 - BVK - THE GERMAN SOCIETY OF CINEMATOGRAPHERS Whether you're listening for the first time or reliving the livestream, you'll hear something new from this conversation between Team Deakins and members of the BVK (The German Society of Cinematographers). The origin of the Team Deakins Podcast is revealed, the balance between the creative and logistical demands of a shoot are discussed, and the pursuit of simplicity in one's work is considered by both James, Roger, and members of the BVK. Roger further talks about the design of 1917's shots, the definition of dark in THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, and sleeping on the floor of an office while in film school. There's a lot to learn from this episode, and we hope you enjoy listening!

SEASON 2 - EPISODE 25 - JIM PLANNETTE - GAFFER Team Deakins had a great time speaking with the talented gaffer Jim Plannette (YOUNG FRANKENSTIN, E.T. THE EXTRA-TERRESTRIAL, BRAVEHEART).  We talk with him about working on films ranging in size from BRAVEHEART to MAGNOLIA, and he shares numerous stories from his career across a wide variety of films. He also speaks on his productive relationship with director Steven Soderbergh. Jim offers a lot of insight into the work that goes into lighting and how technology has changed the way a scene can be lit. Jim was such a generous guest, and we think you're going to enjoy the episode!

SEASON 2 - EPISODE 24 - DAVID DASTMALCHIAN - ACTOR Team Deakins had a great time speaking with David Dastmalchian (DUNE, ANTMAN, PRISONERS)  and you won't want to miss this episode! We get to learn his prospective as an actor on many subjects. We learn that he considers himself a "technical actor" being aware of being part of a many faceted collaboration, how he finds his characters and the importance of wardrobe, hair and make up in that process. We also touch on how vital it is to live a "normal life" to have experiences to draw from and put on screen. And he remembers a story from the set of Bladerunner 2049! It's a wonderful episode that tells us a lot about acting but, thanks to his generous sharing, we learn about an interesting life journey as well! Don't miss it! - Recommended Episode Viewing: ANIMALS, ALL CREATURES HERE BELOW

SEASON 2 - EPISODE 23 - DAMIEN CHAZELLE - DIRECTOR OK, here's the episode you've been waiting for! Team Deakins has an extensive conversation with the talented director Damien Chazelle (LA LA LAND, FIRST MAN, BABYLON). We talk about his approach to movie making and his experiences on his various movie sets. We learn how he likes to work with his collaborators as well as what is important to him in making a movie. It's a great conversation and we're happy to share it with you!

SEASON 2 - EPISODE 22 - EDWARD BERGER & JAMES FRIEND - DIRECTOR & CINEMATOGRAPHER On this episode of The Team Deakins Podcast, we connect with a talented filmmaking duo for a fabulous conversation. Director Edward Berger and cinematographer James Friend (YOUR HONOR, ALL QUIET ON THE WESTERN FRONT) tell us how they like to make their films using only a single camera. They explain how using one camera allows them a level of precision that isn't possible on a multiple camera shoot. We also discuss the importance of understanding the perspective of the film that's being made. For them, that perspective dictates where the camera is placed for every shot, and how the sequences are edited. Edward and James were wonderful guests, be sure not to miss it! Available now!

SEASON 2 - EPISODE 21 - CASEY AFFLECK - ACTOR For this episode of The Team Deakins Podcast, we have a delightful conversation with the brilliant actor, Casey Affleck (MANCHESTER BY THE SEA, AIN'T THEM BODIES SAINTS, GONE BABY GONE). Our conversation with Casey really shines a light on his dedication as an actor. We talk about the value of rehearsals, and the romantic notion of foregoing rehearsal in order to find it on the day. Casey is vert thoughtful when discussing the importance of connecting with a project emotionally, and making sure you are taking a role for the right reasons. We also share some fun memories from working together on THE ASSASSINATION OF JESSE JAMES! Listen in to hear it all. Available now.

SEASON 2 - EPISODE 20 - MANDY MOORE - CHOREOGRAPHER The effervescent and talented choreographer Mandy Moore (LA LA LAND, SILVER LININGS PLAYBOOK, DANCING WITH THE STARS) joins us in conversation for this episode of The Team Deakins Podcast. Mandy's enthusiasm is infections, and her knowledge of dance is vast. She walks us through the ways she designs a dance for a single camera shoot, and how her methods change on a multiple camera one. We also dig into some of her most iconic work, including the stupendous twilight at Griffith Park sequence she arranged for Emma Stone and Ryan Gosling. We also spend some quality time gushing over the persistent genius of CABARET, and why it's one of the all-time greats! Listen In! Available now!

SEASON 2 - EPISODE 19 - MARTIN MCDONAGH - DIRECTOR For this episode of The Team Deakins Podcast, we have a delightful conversation with the brilliant writer and director Martin McDonagh. (IN BRUGES, THREE BILLBOARDS OUTSIDE EBBING MISSOURI, THE BANSHEES OF INISHERIN) Martin tells us how he got his start as a playwright. He goes on to tell us all about the difference between writing plays and writing movies, especially when it comes to having control over the project. He also walks us through some of his experiences making his films, including where the inspiration for each of them came from. Martin is an absolute joy to talk to. Listen in, we know you will agree!

SEASON 2 - EPISODE 18 - CRIS GRAVES - DOCUMENTARIAN For this episode of The Team Deakins Podcast, we have a delightful conversation with the documentary producer and director, Cris Graves. Cris is a mover and a shaker, and her can-do spirit is infections. As she pivots her attention to launching her own narrative feature film, Cris tells us how she's not willing to compromise her own vision and how her story has already become an inspiration for others. Listen in and let her enthusiasm for filmmaking grab ahold of you! Available now.

SEASON 2 - EPISODE 17 - PEARCE ROEMER - ASSISTANT EDITOR On this episode of The Team Deakins Podcast we are joined by the fabulous assistant editor Pearce Roemer (1917, TENET, X-MEN: APOCALYPSE). Pearce really understands the nuts and bolts filmmaking that goes on in the editorial department, and he tells us everything we want to know. We learn how Pearce got involved with the X-Men franchise, and has become an indispensable part of that team over the years. We also touch on a wide array of topics, including how Covid completely restructured the editorial workflow, screening the very first day of dailies for 1917, and even how solar radiation can lead to dead pixels in your footage! Don't miss it!

SEASON 2 - EPISODE 16 - CALLUM MCDOUGALL - PRODUCER This week we are thrilled to be joined by the legendary producer Callum McDougall (1917, SPECTRE, INTO THE WOODS, SKYFALL). Callum tells us how his remarkable career in the film industry can be traced back to an afternoon when he got lost on the London subway system as a schoolboy. We also discuss how he climbed the ranks through the industry as an assistant director, and why that might be his favorite position on a shoot. Callum is a font of knowledge and experience. Listen in and hear him share some of his invaluable know-how! Available Wednesday, December 21st.

SEASON 2 - EPISODE 15 - ANDY HARRIS - 1ST AC This episode is one you've been asking for. We welcome brilliant 1st AC Andy Harris (THE TRAGEDY OF MACBETH, 1917, BLADE RUNNER 2049) to join us for a conversation on the Team Deakins Podcast. We discuss all parts of his role as a 1st AC. He tells us how he reads a room and an actor to determine where to make make marks, and perhaps more importantly, where to not! We also dig into the differences between having your hands right on the camera versus working off of a monitor from far away. Andy is more like family than colleague to us by this point. Listen in to find out why!

SEASON 2 - EPISODE 14 - MARTIN PARR - STILL PHOTOGRAPHER This episode is a fabulous conversation with the outstanding still photographer, Martin Parr. Our wide-ranging conversation delves into Martin's process in fascinating ways. Listen in to hear why he would rather take photos in a supermarket than a war zone. And when he and Roger get to comparing notes, we learn that when Roger goes out to shoot stills, he's lucky to come home at the end of the day having snapped five pictures. Meanwhile Martin will have snapped over five hundred! Don't miss our great discussion, it's available now!

SEASON 2 - EPISODE 13 - DAVID VALDES - PRODUCER For this week's episode, Team Deakins sits down for a great conversation with the fabulous producer David Valdes (UNFORGIVEN, THE GREEN MILE, AVATAR: THE WAY OF WATER). David tells us how he got his career started by sneaking onto a film shoot as a teenager. Eventually he found himself working on the Universal lot as a fireman, a position that doesn't even exist anymore and has little to do with putting out actual fires. Before long, our discussion turned to David's decades long relation with Clint Eastwood, who he made 18 films with. Listen in to hear our wide ranging conversation with one of the great producers in the business!

SEASON 2 - EPISODE 12 - MONAYA ABEL - CAMERA TRAINEE This week were are so excited to be joined by camera trainee Monaya Abel (EMPIRE OF LIGHT, THIS IS GOING TO HURT, CITADEL) on the Team Deakins Podcast. This is a great discussion since it's a category not often heard from. As a newcomer to film production, she provides a different perspective and her enthusiasm for the world of filmmaking is infectious. We discuss how she works to keep morale up on set for herself, and her whole team. We also get to hear first-hand what it's like to be the new kid on the block, and what surprised her when she came onto the set of a major production for the very first time. She also got us thinking about some of our early days in the business and how things have changed. With people like Monaya entering the world of production, movie making is in very good hands for the future. Listen in!

SEASON 2 - EPISODE 11 - STUART WILSON - SOUND MIXER Team Deakins is thrilled to welcome the magnificent sound mixer Stuart Wilson (THE BATMAN, THE RISE OF SKYWALKER, SPECTRE, WORLD WAR Z) to this week's episode of the podcast. We have a great conversation centered around the duties of the sound mixer, and his experiences on some wonderful films. Stuart explains to us how he's developed an instinct for catching great moments in a scene, and all of the nuances involved in capturing an exceptional recording of the human voice. We also drill down on some fun tricks of the trade. Just where do you hide a bulky mic, transmitter, and battery pack on Catwoman's skin-tight catsuit, and how could it possibly involve the NFL? Listen in to find out the answer to that question, and so many more!

SEASON 2 - EPISODE 10 - MATTHEW HEINEMAN - DIRECTOR For this week's Team Deakins podcast, we sit down with filmmaker Matthew Heineman (CARTEL LAND, THE FIRST WAVE, A PRIVATE WAR) for a fascinating and enthralling conversation. Matthew tells us how he captured footage, and survived, in two situations where his life was literally on the line. First, among the drug cartel border skirmishes in Cartel Land, and then imbedded in a New York City emergency room for months during the outbreak and initial spread of COVID-19 for The First Wave. We also talk about one of the major aspects of making documentaries that most people never think about: casting. Matthew also discusses everything involved in making the leap from directing documentaries over to directing narrative films. Don't miss it!

SEASON 2 - EPISODE 9 - ALEX PRITZ - DOCUMENTARIAN This week, Team Deakins is so happy to invite documentary filmmaker Alex Pritz (THE TERRITORY, MY DEAR KYRGYSTAN) to join us for a wide ranging conversation. Alex explains to us how his background in science spurred him into filmmaking, and still drives the larger questions his films attempt to ask. We also discuss the moral issues raised by documenting real life events - and perhaps more importantly, real people. And then we get into the importance of being 100 percent honest in grappling with those issues. Eventually, the conversation turns to a field we know almost too much about: how to maintain a healthy work/life balance when your spouse is also in the business!

SEASON 2 - EPISODE 8 - MARK TILDESLEY - PRODUCTION DESIGNER Team Deakins is so pleased to welcome the fabulous production designer Mark Tildesley (NO TIME TO DIE, PHANTOM THREAD, SUNSHINE) to the podcast for a delightful conversation. Mark unpacks the role of the production designer, and delves into how he works with hyper visual directors like Danny Boyle, and more contemplative, internal directors like Michael Winterbottom. He also sheds some light on how the role of the production designer differs on a small, personal movie compared to a mega blockbuster franchise like James Bond. This is a delightful conversation that drills down on the real world nuts and bolts of filmmaking. Don't miss it!

SEASON 2 - EPISODE 7 - MICHAEL WARD - ACTOR Team Deakins engage in a wonderful conversation with actor Micheal Ward (BEAUTY, TOP BOY, EMPIRE OF LIGHT). We cover a lot of ground including discussing his experiences on TOP BOY, working in television vs features and his viewpoint as an actor on a set. Micheal speaks of the importance of authenticity and the responsibility he feels as a black actor to provide opportunities behind the camera for others to learn the craft. He also shares some funny tales of auditioning and animal phobia. You won't want to miss this episode!

SEASON 2 - EPISODE 6 - RICHARD SHEAN - VIDEO PLAYBACK OPERATOR Video Playback Operator Team Deakins gets into the world of the Video Playback Operator with Richard Shean (HARRY POTTER, WAR HORSE, 28 DAYS LATER, SUNSHINE). He explains that the job differs because of the requirements of the specific film as well as the working method of different directors. Richard is also very candid about his long journey to find what he wanted to do and we were impressed by his tenacity in face of drawbacks. He talks about working with Steven Spielberg and Danny Boyle as well. And we learn how the technology has changed the job. We covered a lot in this episode and were thoroughly entertained in the process!

SEASON 2 - EPISODE 5 - KAMLAN MAN - SET DECORATOR Team Deakins has the pleasure in this episode of speaking with a set decorator, Kamlan Man (NO TIME TO DIE, PHANTOM THREAD, SKYFALL).We explore the role of set decorator in depth and learn all kinds of things. We learn how small items can tell the story of a character, the steps for properly dressing a location and compare dressing built sets vs locations. We also discuss the set decorator's relationship with the props department and definitely dive into the conversation of using practical lights and her relationship with the cinematographer. A full look at the job of a set decorator!

SEASON 2 - EPISODE 4 - MAT BERGEL - PROPS Team Deakins is so pleased to welcome props maestro Mat Bergel (ROBIN HOOD, HUGO, TRAINSPOTTING) to the podcast. Mat starts this conversation by detailing how he got into the movie business through managing restaurants, and landed in the props department. He explains why some of the hardest work for the props team involve eating, drinking, and smoking scenes. We talk about the different kinds of acting styles that relate to props, and why some actors latch onto them, while others seem to dismiss them out of hand. Then things get exciting with tales of jostled Faberge eggs, missing Rolex watches, and a stolen Picasso! You won't want to miss this one!

SEASON 2 - EPISODE 3 - TOBY JONES - ACTOR In this episode, Team Deakins sits down with the talented actor, Toby Jones (TINKER TAILOR SOLDIER SPY, INFAMOUS, THE HUNGER GAMES, ATOMIC BLONDE). We touch on a lot of subjects during the conversation including the all important relationship between an actor and a director. We talk about what an actor needs from a director and the necessity of sharing a common vision with the director. Toby also speaks about the responsibility and the freedom of playing figures from history. And we drill down to some practical points such as how to use the props without relying on them and the different processes of different actors. A very articulate look into the work of an actor that you won't want to miss!

SEASON 2 - EPISODE 2  ROD MCLEAN - ART DIRECTOR Team Deakins looks into the role of the art director with the talented Rod McLean (BLADERUNNER 2049, ZERO DARK THIRTY, 1917). We have a lot of fun delving into his role and cover such topics of the advantages/disadvantages of shooting a location or set, the difficulties of a far location, working on small movies and the fragility of creativity. Rod is very generous in sharing his knowlege and experience.  A lot of information in one episode! Don't miss it!⁠

SEASON 2 - EPISODE 1 - RICHARD CHEAL - SPECIAL EFFECTS Team Deakins is joined by Special Effects (SFX) Technician RICHARD CHEAL (THE BATMAN, SPECTRE, STAR WARS) and we learn lots about the world of SFX. Richard tells us how the SFX team collaborates with many departments in the aim of making the shot the best it can be. The relationship of SFX and the DP is examined. And we go into detail about many shots in THE BATMAN and learn what they entailed. It was a very thorough look at the many aspects of Special Effects. You won't want to miss this episode. RECOMMENDED EPISODE VIEWING: The Batman

EPISODE 163 - Byways Team Deakins discusses Roger's new book BYWAYS as we head into a hiatus from the podcast. In this episode, we discuss what taking stills gives to Roger that film does not, how he enjoys observing things and places, how there is no pressure to shoot anything specific, what he likes to take images of, and why he prefers to shoot in black and white. We talk about his time shooting for the Beaford Archive and developing his eye. He likes dedicating his day to shooting on his stills camera and he only takes iPhone photographs when he's fishing. We discuss our incredible and collaborative experience working with Damiani, the publishers of BYWAYS. IMAGES WE DISCUSSED: The Joy of Flight (72), Budapest Runners (116), and Lightning Strikes (131)

EPISODE 162- Roberto Schaefer - Cinematographer Team Deakins is joined by cinematographer Roberto Schaefer (THE KITE RUNNER, QUANTUM OF SOLACE, MONSTER'S BALL) for a great conversation. In this episode, we discuss Roberto's journey into the industry (a serendipitous one). Roberto talks about his experiences working with directors Christopher Guest and Marc Forster, both of whom he has collaborated with many times. We learn what Roberto's approach was to lighting the film Best In Show and how he will not take a job if his initial reaction is clouded with doubt – he believes in following your instincts! We discuss the lighting cameraman, preserving a single vision while shooting multiple cameras, the rise of sky panels, shooting for television, and much more! 

EPISODE 161 - Peter Kohn - First Assistant Director  Team Deakins sits down with first assistant director Peter Kohn (LA LA LAND, BIRDMAN, PIRATES OF THE CARIBBEAN) for a conversation. In this episode, Peter tells us how his father's career in the industry influenced his aspirations and his taste in films– he loves watching and working on musicals. Peter shares stories from working on the Pirates of the Caribbean trilogy and Birdman, working with Gordon Willis, and doing smoke on the set of Ridley Scott's The Duellists. Together we talk about what makes a successful assistant director, having a big first day on set, the many factors that dictate the shooting schedule, and even car work. Peter also sneaks in a few questions about 1917!  

EPISODE 160 - Sturla Brandth Grøvlen - Cinematographer Team Deakins enjoys a great conversation with cinematographer Sturla Brandth Grøvlen (ANOTHER ROUND, VICTORIA, HEARTSTONE, RAMS). In this episode, we learn that Sturla attended school until he was 31, but over the course of the interview, we find out it was well worth it! Sturla talks about shooting Songs for Alexis, his first documentary film, and explains what Scandinavian Folk high schools are. He tells us that he didn't show his work to the outside world until his final year at the National Film School of Denmark, which dared him to fail and allowed him to focus on developing his artistic sensibility. Together we discuss Victoria and how they decided to shoot it in real-time without cuts, working with harsh weather conditions while filming Rams, and Sturla's visual inspiration for Heartstone. Sturla also tells about his experience working with Thomas Vinterberg (Episode 101) on his film, Another Round. Tune in!  RECOMMENDED EPISODE VIEWING: Victoria

EPISODE 159- ROBERT EGGERS & JARIN BLASCHKE - Director & Cinematographer Team Deakins sits down with director and cinematographer Robert Eggers and Jarin Blaschke (THE NORTHMAN, THE LIGHTHOUSE, THE WITCH). Robert and Jarin discuss their shared love of golden age fairy tale illustrations, the funny story behind the start of their collaboration, and the meticulous planning that went into making The Lighthouse. We learn how Robert transitioned from working in the art department on New York independent films to directing The Witch. Robert and Jarin talk about what it was like to work with Robert Pattinson and Willem Dafoe, how they chose aspect ratio for The Lighthouse, how shooting for historical accuracy removes choices, and how films are about editing down not about creation. A wonderful conversation with excellent filmmakers! 

EPISODE 158 - HARIS ZAMBARLOUKOS - Cinematographer Team Deakins has a great conversation with cinematographer Haris Zambarloukos (MAMMA MIA!, SLEUTH, MR IN-BETWEEN, ARTEMIS FOWL) in this episode. Haris shares his experiences working with director Kenneth Branagh, Paul Sarossy, and Phyllida Lloyd. Haris talks about learning the steps of observation, contemplation, and action during his time in film school at St. Martins and about learning how to contribute to the feeling of a film while studying at AFI. We share many stories about our dear friend Conrad Hall and Haris beaks down how he shot Steven Knight's LOCKE in eight days. We discuss the idea of choosing a DP with whom a director could grow with or someone who could hold his hands and guide him as well as having trust in a director's ability to have an impact and to follow them every step along the way. Don't miss it! RECOMMENDED EPISODE VIEWING: Locke

EPISODE 157- MARK MANGINI- Sound Designer Team Deakins converses with sound designer Mark Mangini (DUNE, BLADE RUNNER 2049, MAD MAX: FURY ROAD, STAR TREK) about the world of sound. In this episode, Mark explains that his job is to tell stories with sound and to create universes that sonically don't exist. He walks us through designing the sound for the war rig in MAD MAX: FURY ROAD as well as his close collaboration with director Denis Villeneuve on BLADE RUNNER 2049, and Tom Holkenborg on BLACK MASS. We discuss how Mark decides when to use a music cue or sound effect cue, how you can earn loud sounds by buying silence early on in a film, and the creative necessity and financial incentive to capture production sound on set instead of recreating it in post. We learn a lot in this episode!! You don't want to miss it!  BONUS: Use this link to download a sound file that Mark makes reference to when speaking of "Bladerunner 2049".

EPISODE 156 - PETER SUSCHITZKY- Cinematographer Team Deakins sits down with cinematographer Peter Suschitzky (THE ROCKY HORROR PICTURE SHOW, THE EMPIRE STRIKES BACK, DEAD RINGERS) for a great conversation. We learn that Peter started shooting at a very young age and was printing images in the darkroom at the age of 6! Peter tells us stories from working with the great directors John Boorman, Peter Watkins and David Cronenberg. Peter tells us about interviewing with George Lucas for Star Wars, why he hadn't seen a single one of Cronenberg's films before his interview for Dead Ringers, and his collaborations with Peter Watkins. Peter believes it is easy to fall into formulaic filmmaking if you work too much, and to him that is the enemy of creativity. We discuss still photography as it is a huge part of Peter's life, and how to Peter, capturing a good still is very difficult (perhaps more so than cinematography), though satisfying when it works well. 

EPISODE 155- KEN LOACH & BARRY ACKROYD - Director & Cinematographer Team Deakins speaks with director Ken Loach and cinematographer Barry Ackroyd (THE WIND THAT SHAKES THE BARLEY, SWEET SIXTEEN, CARLA'S SONG, LADYBIRD, LADYBIRD) in this episode. Barry (Episode 70) and Ken share memories from their many collaborations together and Ken is very open with us about his process. He tells us that the most important thing that the director has is the actor's instincts. We learn what Ken looks for when casting his movies, why he shoots in sequence, what he looks for in a crew, what his rehearsal processes are like, and how everyone rides in the same minibus on his sets because he and his crew are one team. We learn how Ken's experience at the BBC shaped his approach to filmmaking and why he didn't go into politics. Ken tells Barry why he asked him to shoot Riff-Raff and how he believes Barry has a great skill for finding natural movement from a camera on legs and how it suited their collective ideas. Don't miss it!

EPISODE 154- JOHN SEALE - Cinematographer Team Deakins speaks with cinematographer John Seale (MAX MAD: FURY ROAD, THE TALENTED MR. RIPLEY, RAIN MAN, DEAD POET'S SOCIETY) in this episode. John shares stories from his time working with director Peter Weir, Anthony Minghella, Sydney Pollack, and George Miller. We discuss camera operating at length– how much John loves operating and believes it to be the most fulfilling job on set, how it is instinctive and how the position of the cameraman can be very important. John talks about the toughest challenge he and his crew faced during the production of The Perfect Storm as well as his experience working with natural daylight while shooting THE TALENTED MR. RIPLEY. We discuss the "imperceptible zoom" and the "what if system" and how shooting with multiple cameras can allow an editor to cut for performance rather than continuity. We laugh a lot on this episode, tune in!

EPISODE 153 - DARIUSZ WOLSKI - Cinematographer Team Deakins has the opportunity to speak with cinematographer, Dariusz Wolski (NEWS OF THE WORLD, THE MARTIAN, PIRATES OF THE CARIBBEAN). We talk about his (and Roger's) beginnings in music videos and his experiences working with both Tony and Ridley Scott. He tells us he learned to light 360 degrees while working with Tony. We learn a lot of his method of working with Ridley - how Ridley is not afraid of silhouettes and how he likes to draw the movie as a way of thinking and focusing. He shares his experiences on NEWS OF THE WORLD and well as PIRATES OF THE CARIBBEAN. We also talk about the VFX on PIRATES and the experience of shooting movie 2 and 3 at the same time! He tells us his philosophy is not to control everything and even shares a few stories about Conrad Hall (what's an episode without mentioning Connie?). A fun and insightful episode!