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.

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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.

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Recommended Viewing: LIMBO

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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.

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This episode is sponsored by Aputure

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

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.

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Recommended Viewing: GET OUT, SICARIO

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This episode is sponsored by Aputure

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!  

EPISODE 152 - ALWIN KUCHLER - Cinematographer

Team Deakins converses with cinematographer, Alwin Kuchler (THE MAURITANIAN, STEVE JOBS, DIVERGENT). We cover a lot ground including his work with directors Lynne Ramsey and Danny Boyle. We talk about his intentions behind using both spherical vs anamorphic lenses, how he loves intense challenges and how he came across THE MAURITANIAN. We learn about his experience on RATCATCHER, working with Lynne Ramsay and how they worked instinctually since they had trouble understanding each other's accents! He also shares his experiences working with Danny Boyle. And lots more! A great conversation that shouldn't be missed!

EPISODE 151 - CILLIAN MURPHY - Actor

Team Deakins catches up with actor Cillian Murphy (INCEPTION, THE DARK KNIGHT, 28 DAYS LATER) and the result is a great conversation about many subjects including acting , working in the business and somehow balancing your life. We explore the idea of how living a normal life between projects is so important and using that in the work. We talk about many of his films and his approach to creating the character. He shares his experiences working with Neil Jordan, Ken Loach and Christopher Nolan. We learn that mastering an accent is "like going to a gym for your mouth", we also talk about his relationship with the camera department and what he looks for in a director. We touch on the differences of shooting a film, acting on stage and working on a TV series.  Definitely not an episode to miss!  

EPISODE 150 - MÁTYÁS ERDÉLY - Cinematographer

Team Deakins speaks with Hungarian cinematographer, Mátyás Erdély (SON OF SAUL, SUNSET, THE NEST) in this episode. Matyas has shot in the US, UK and Hungary and says he doesn't feel there is much difference in his work wherever he works. He shares that he feels it is soul crushing to take a project just for the money if it is something you don't connect with. He also goes into detail about his collaboration with Lazlo Nemes (SON OF SAUL, SUNSET) (Episode 113 of Team Deakins) and how they began thinking they would shoot SON OF SAUL on Steadicam but how and why changed their minds. He also shares how they chose lenses with the guiding core idea of using the limitation of visual information by focus. And we learned how he and Lazlo approached their next collaboration on the film SUNSET differently. A great conversation with a talented cinematographer!

RECOMMENDED EPISODE VIEWING: Son of Saul

EPISODE 149 - JOHN TURTURRO - Actor

Team Deakins enjoys a great conversation with frequent collaborator, actor John Turturro (BARTON FINK, THE BIG LEBOWSKI, TRANSFORMERS). His stories made us laugh a lot in parts - especially when he describes his first professional audition with Michael Badalucco for DiNiro and Scorsese for the movie Raging Bull! He also shares what working with the great Robbie Muller taught him ("you don't have to do more") as well as his experience of working with Francesco Rosi and Pasqualino De Santis on The Truce, where he realized he was a part of the frame. We also talked a lot about his experiences working with the Coen Brothers including what his real-life inspiration was for his character in Miller's Crossing and how he prepped for Barton Fink. He explains that while professional acting is great, once in a while, it's good to get back to the responsible amateur in you! We cover lots of ground and it's an episode not to miss!

EPISODE 148 - ROBBIE RYAN - Cinematographer

Team Deakins enjoys an interesting talk with cinematographer, Robbie Ryan (MARRIAGE STORY, I, DANIEL BLAKE, THE MEYEROWITZ STORIES). We talk about his teaming up with director Andrea Arnold and their relationship. We go into details on the film FISH TANK. Robbie shares Andrea's approach, the experience of working with street actors, and why a lot was handheld. He also talks about the differences between working with Andrea and Ken Loach. We also touch on his experience of working with Noah Baumbach as well as Yorgos Lanthimos on THE FAVOURITE. And we had questions about the technical challenges on THE LAST DAYS ON MARS. A fun and interesting conversation!

RECOMMENDED EPISODE VIEWING: Fish Tank

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.

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This episode is sponsored by Godox

EPISODE 147 - DONALD BURT - Production Designer

Team Deakins delves into the craft of production design with the great production designer, Donald Burt (THE CURIOUS CASE OF BENJAMIN BUTTON, HOSTILES, MANK). We loved hearing about his path to the film business! We talk about his first movie as production designer, JOY LUCK CLUB - quite a film to start on! He shares his methods of working with a director and how he doesn't want to draw attention to what he is doing and that he wants to be supportive and serve the story first. We also touch on how restrictions and limitations breed imagination, his approach to sets vs locations, and how you can't be afraid of articulating a stupid idea. And, we also speak about the making of MANK, THE OUTLAW KING, and ZODIAC. As well as much, much more!

RECOMMENDED EPISODE VIEWING: Mank

EPISODE 146 - CHARLOTTE BRUUS CHRISTENSEN - Cinematographer

Team Deakins has a great conversation with cinematographer Charlotte Bruus Christensen (THE HUNT, FAR FROM THE MADDING CROWD, A QUIET PLACE). We loved her account of how she learned the craft and entered the industry and her thoughts soon what it means to teach cinematography. We also talk about her various collaborations with the director Thomas Vinterberg. She also discusses the night lighting and the consideration of sound design on the A QUIET PLACE. We also touch on her directing and shooting the TV series mini series BLACK NARCISSUS. A great conversation with a talented cinematographer!

RECOMMENDED EPISODE VIEWING: Submarino, A Quiet Place

EPISODE 145 - KRYSTY WILSON CAIRNS - Writer

Team Deakins has fun speaking with writer Krysty Wilson Cairns (1917). She and Roger compare times at the National Film School in London and discuss whether writing can actually be taught. Her love of writing comes through strongly and we learn she reads a book a week! She thinks that if a scene doesn't work on screen, it wasn't written correctly. Krysty discusses the core tenants of good screenwriting and goes into detail about the importance of collaboration with the director. She admits to stealing the experiences of people around her and not considering the budget when she writes. We had a lot of laughs and learned a lot about writing in this episode!

EPISODE 144 - AGNIESZKA HOLLAND - Director

Team Deakins covers many topics with Polish director Agnieszka Holland (MR JONES, EUROPA EUROPA, TO KILL A PRIEST). We learn how the politics of her time have influenced her work and how starting out on smaller projects taught her to make the scene work without extraneous shots. She shares her experiences on the films Angry Harvest, To Kill a Priest, Darkness, Europa Europa, and Charlatan. She speaks of her responsibility to the story versus historical accuracy and what she feels the role of the director is. A fascinating conversation with a talented director.

RECOMMENDED EPISODE VIEWING: Darkness, Europa Europa

EPISODE 143 - Neil Jordan - Director

Team Deakins has a great conversation with the remarkable director, Neil Jordan (THE CRYING GAME, THE BUTCHER BOY, BREAKFAST ON PLUTO). We've been fans for years, so it was a thrill to meet and speak with him. We had some sound issues, but we think the content more than makes up for that! Neil shares with us his perspective on filmmaking and his approach to creating the film. Neil has also had many novels published and we asked him about the difference between the genres of written works and motion pictures. We learn that he loves how movies immediately bring you into a reality without any explanation or exposition. We also speak specifically about his many movies and learn interesting details. A fascinating episode with an articulate filmmaker!

RECOMMEND EPISODE VIEWING: Any Neil Jordan film

EPISODE 142 - RICHARD HOOVER - Production Designer

Teams Deakins has a conversation with production designer, Richard Hoover (42, GIRL, INTERRUPTED, BOB ROBERTS). Richard talks about different methods of working with different directors and how he discovers what the director wants. He also illustrates his points with examples from Twin Peaks, Bob Roberts, Dead Man Walking. 42 and The Assassination of Jesse James and the approaches he took. He shares the use of a "look book" for the design and the particular challenges of working on period pieces. He tells us that the content of the scene definitely affects the design and how you can tell the story with the design. We asked about designing against your personal taste as well as what his greatest design challenge was. It's a great look into the complex role of the production designer on a film. Don't miss it!

EPISODE 141 - BRUNO DELBONNEL - Cinematographer

Team Deakins has a great conversation with cinematographer, Bruno Delbonnel. He speaks about his experiences working with Jean-Pierre Jeunet and Marc Caro, on Amelie and Delicatessen, respectively. We learn about how he achieved the look on Amelie and how, in France, it was the first film to involve a DI, and how the digital workflow has changed. When he chooses a project, he is not looking for the challenges as much as discovering the director's vision and figuring out how to implement that. He also shares his experiences with working director Tim Burton. We speak of how he prepares his lighting and the importance of determining what you really need on a shoot and hearing what it is that production needs. It's not about compromise but about finding the right method. And, of course, we speak about The Darkest Hour and the look. Not an episode to miss!

EPISODE 140 - ALEXANDER NANAU - Director/Cinematographer

Team Deakins has the pleasure of having an in-depth conversation with documentary director (who also shoots!), Alexander Nanau (TOTO AND HIS SISTERS, COLLECTIVE). We start with the importance of the documentary subject not being aware of the camera and Alex he goes about making his subjects comfortable. We also look at how the direction of the documentary can change during filming and how important it is to allow that to happen. He gives examples of this in Collective and Toto and his Sisters. Alex shares how he gave his characters cameras during the filming of Toto and his Sisters which allowed him access to special, intimate footage that would not have been possible with him in the room. He also speaks of how a project gets set up and his desire to direct fiction now. A great conversation with a talented filmmaker!

RECOMMENDED EPISODE VIEWING: Toto and his Sisters, Collective

EPISODE 139 - TURNING THE TABLES - Sicario

Team Deakins has the tables turned on them. Editor Tom Cross (Episode 129) asks the questions and we focus on the film SICARIO. Tom asks us about specific scenes, including the tunnel sequence, the Mexico sequences, and the opening sequence. We talk about the importance of the first shots in a movie and what the original first shot of Sicario was originally planned to be. We break down a sequence that was shot both on stage and location. We also touch on how we work with editors and the importance of our relationship with them. We spoke of the cutting in Sicario as well as the film First Man, which Tom cut. An interesting, in-depth conversation about filmmaking!

EPISODE 138 - DANIELLE FEINBERG -Pixar DP/VFX Supervisor

Team Deakins speaks with Pixar lighting artist, Danielle Feinberg (WALL•E, COCO, RATATOUILLE). Danielle tells us about her time at Pixar, how computer animation is evolving and how each story demands different technical advances. She walks us through the process of making a film at Pixar, step by step. She also tells us how Pixar hires and what they look for in applicants as well as how the layout of the Pixar building is deliberate to promote communication. We learn that changes in the tools can alter the movie's workflow. She speaks about working on Finding Nemo and her favorite creative moment in the jellyfish scene. We also get into the roles of camera operating and lighting in animation and the struggle to open up communication between the departments. Danielle really opens up the world of animation for us!

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. 

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This episode is sponsored by Godox

EPISODE 137 - JOE WRIGHT - Director

Team Deakins has a great time talking with director, Joe Wright (ATONEMENT, THE SOLOIST, DARKEST HOUR). He shares what he loves about films and how he loves the craft of it. He talks about the importance of casting correctly and how he works with actors and how important rehearsals are. We learn how he preps with a cinematographer and what he looks for in a cinematographer. Also, he shares why he chose to do The Darkest Hour, how he likes to work with the same crew and actors and how he learns from the process of making films. A fascinating conversation with a talented director!

EPISODE 136 - JESS GONCHOR - Production Designer

Team Deakins talks design with production designer, Jess Gonchor (THE DEVIL WEARS PRADA, NO COUNTRY FOR OLD MEN, TRUE GRIT, FOXCATCHER). He tells us how, early on, he learned the mistake of lighting the set and not the story which he's never forgotten. We also talk about developing a color palette, what goes into his mood board, and using music references. He shares some of his experiences on The Siege, Capote, No Country for Old Men, Hail Caesar, as well as Lone Ranger and A Serious Man. We also learn how he approaches pitching his ideas to a director who has already lived with another idea for a long time. This episode is a really interesting look into the craft of production design!

EPISODE 135 - DARIUS KHONDJI - Cinematographer

Team Deakins talks with cinematographer Darius Khondji (UNCUT GEMS, ALIEN RESURRECTION, SE7EN). We talk a lot about light, specifically learning how to light and how he started to learn with natural light. He shares the experience of working with David Fincher on the film Se7en and how their collaboration allowed him to take risks. He speaks about how important it is to get to understand the director and how he sees visual style as a house that you have to find the key to unlocking and that he usually finds this key through the character. Darius tells us about working on the movies Lost City of Z, Uncut Gems, My Blueberry Nights, and Amour. He also shares his thoughts on working in features and television. A wonderful glimpse into the eye of a great cinematographer!

EPISODE 134 - RICH KLUBECK - Partner and Literary Agent UTA

Teams Deakins has an in-depth conversation with Rich Klubeck of UTA. We cover a lot of ground on the subject of filmmaking - from the difference of putting together an independent vs studio film when a project needs to be cast and the considerations in casting. He defines and explains the principles of packaging a project and conveys how putting together a film is an art form. We talk about how to budget and Rich gives us a step-by-step guide to getting financing and what he thinks about when looking for funding. We ask about the role of film festivals and the future of movie distribution. We learn what he does when a new script from an unknown director comes across his desk and much, much more! An incredible guide to getting a movie off the ground!

EPISODE 133 - DOMHNALL GLEESON - Actor

Team Deakins has a great time speaking with actor, Domhnall Gleeson (STAR WARS, NEVER LET ME GO, THE REVENANT). He tells us how his father being an actor (Brandon Gleeson) showed him it was a career that could be done, with hard work. He shares that a well-run set is his favorite place to be and the feeling of loss when a film doesn't land. We talk about his experience of working with the Coen Brothers in the film, True Grit as well as working on the film, Ex Machina, and with Alicia Vikander. We reminisce about the experience of working together on the film, Unbroken, including his having to starve for the start of the movie. He also shares what he has learned, like not having to be in pain to get a good performance and relating with the crew as an actor. And lots, lots more! You won't want to miss this episode!

EPISODE 132 - CARROLL BALLARD - Director

Team Deakins has the pleasure of speaking with director Carroll Ballard (WIND, THE BLACK STALLION, NEVER CRY WOLF, DUMA). We learn how he got involved in the project that became the film, Black Stallion, how he worked with cinematographer, Caleb Deschanel. We also discuss the particular challenges of that film. Carroll talks about the difficulties of working with animals and children as well as working with wolves and caribous in Never Cry Wolf, geese in Fly Away Home, and cheetahs in Duma. We also learn about how he met the extreme challenges of shooting the film Wind. We learned a lot in this episode!

EPISODE 131 - DENNIS GASSNER - Production Designer

Team Deakins sits down with production designer, Dennis Gassner (FIELD OF DREAMS, JARHEAD, SPECTRE, 1917) and examines all things movie design! Dennis shares some of his methods - using smells to complete the set and boiling down a film to one word and working from there. He also talks about working at Zoetrope and working on such films as The Hitcher, Field of Dreams, Water World, Blade Runner 2049, Skyfall, and Spectre. He speaks of working with directors Joel and Ethan on many films as well as his thoughts on previs, choosing projects, and always working for the story. A fascinating conversation with a very experienced production designer!

EPISODE 130 - NIALL MORONEY & ELAINE KUSMISHKO - Art Directors

Team Deakins talks to Art Directors, Niall Moroney and Elaine Kusmishko (1917, MARY POPPINS RETURNS, BEAUTY & THE BEAST). We start with what an art director does and the difference between a supervising art director and an art director and learn how the art department interacts with all departments on a film. We also break down the challenges of the film 1917 and how they met them. They share how much they had to learn about trenches, how they created them, and reconstruct the original land when the film ended. We also talk about using models on 1917 and why they were so helpful. They also share the way the night town set was envisioned and built. It's a wonderful examination of the role of the art department in filmmaking as they give specific examples of the issues they face and then solve.

RECOMMENDED EPISODE VIEWING: 1917

EPISODE 129 - TOM CROSS - Editor

Team Deakins enjoys a great conversation with editor, Tom Cross (FIRST MAN, HOSTILES, NO TIME TO DIE). He shares what he learned from working with different editors when he started out and tells us of the different styles of individual editors. We also talk about the fact that it's not unusual to have multiple editors on films these days and we learn how the work is divided up. He shares his working experiences with director David O'Russell, Scott Cooper, and Damien Chazelle. We discuss working in different formats, creating the style of the film, inserts as the "unsung heroes of movies" and what good editing actually is. And much, much more! A great insight into the world of editing!

EPISODE 128 - PHEDON PAPAMICHAEL - Cinematographer

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

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.

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This episode is sponsored by Godox

EPISODE 127 - GERD NEFZER - Special Effects Supervisor

Team Deakins speaks with special effects supervisor, Gerd Nefzer (BLADE RUNNER 2049, RED SPARROW, HUNGER GAMES). We start by talking about what the special effects department covers and how it varies per film. We talk about the challenges of creating atmosphere and how he approached that on Blade Runner 2049. Specifically, we examine the differences in using mist or smoke for the atmosphere. Of course, we discuss what is covered by SFX and VFX and how this is determined. We go into detail on the challenges that the sea wall sequence in Blade Runner 2049 offered. Gerd also shares details of the effects on the film, The Girl in the Spiderweb and he tells us how important planning is and knowing what the camera position will be for his work. A really great conversation with a special effects master!

RECOMMENDED EPISODE VIEWING: The Girl in the Spiderweb, Blade Runner 2049

EPISODE 126 - DAVID GROPMAN - Production Designer

Team Deakins speaks with production designer, David Gropman (FENCES, LIFE OF PI, THE SHIPPING NEWS). He tells us why he loves shooting on location vs sets, his reaction to specific colors, his relationship to the producer, and the challenge of working within the budget. He talks about his experiences with directors Lasse Hallström, James Ivory, and Ang Lee. Since he worked with Ang Lee on the movies Taking Woodstock and Life of Pi (two very different movies!), he talks about his approaches to the films and talks about designing for a 3D project. And we learn some specifics about the shooting of Life of Pi, such as the tank work and working as a production designer with the VFX team! We also touch on the differences between working on big budgets vs smaller budgets as well as the differences between working on long-form TV vs feature films.

EPISODE 125 - SCOTT COOPER - Director

Team Deakins has a great talk with director, Scott Cooper (HOSTILES, BLACK MASS, CRAZY HEART). We learn that he started out as an actor and how that has helped him when he became a director. He talks about the immediate recognition, on his first directed film Crazy Heart, that directing was his path and not acting. He shares his belief that you make a film 3 times: when writing it, when shooting it and when editing it. He talks about shooting with a single camera, how he works with actors, and how he wants to create space for the actors to take big chances. He tells about the experiences of working on each of his films and says he likes to push himself in unsafe places. A very interesting look into the process of a director!