Art & Crafts from The Ankler

In a conversation with Molly Shock, ACE, Emmy-nominated editors Eric Kissack, ACE Apple TV+’s The Studio, Jamie Martin, ACE MTV’s RuPaul’s Drag Race and Peggy Tachdjian Netflix’s Monsters: The Lyle and Erik Menendez Story chat about how their work helps guide the audience in the direction they need to go. “That is ultimately what drives everything we do,” Shock says. “But you all have three very different vehicles by which you are telling your stories.” This episode, sponsored by Apple TV+, MTV and Netflix, was recorded at the American Society of Cinematographers Clubhouse in Los Angeles on Aug. 7.

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In a conversation with James Whitaker, ASC, Emmy-nominated cinematographers Adam Bricker, ASC (HBO Max's Hacks) and Jessica Lee Gagné (Apple TV+'s Severance) discuss the pressure that comes with returning to a hit series, how they each evolved the looks of their respective shows during the most recent season and how the production design informs their photography choices. “I didn’t know what season 2 was gonna be about,” Gagné says. “I wanted to do something new. I can’t stand lighting a set the same way twice. So there were a lot of challenges in this. But when I read the synopsis for season 2, I saw how the world was expanding, so that got me excited." This episode, sponsored by Apple TV+, HBO Max and Universal Television, was recorded at the American Society of Cinematographers Clubhouse in Los Angeles on Aug. 7.

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In a conversation moderated by four-time Emmy-nominated cinematographer and director Michael Goi, ASC, three of the creators behind Disney+’s Andor — costume supervisor Kate O’Farrell, production designer Luke Hull and composer Brandon Roberts — detail how they collaborated with creator Tony Gilroy to build the world of his acclaimed Star Wars spinoff series. The two-season drama, set prior to the events of Rogue One, follows Cassian Andor (Diego Luna) as he grows from smuggler to a stalwart of the rebellion. For O’Farrell and Roberts, working on a Star Wars show was a dream come true, while Hull was drawn in also by Gilroy’s desire to shake up storytelling in that universe. Hull’s memory of Gilroy’s initial pitch: Join up “if you want to be a pirate and do something different with it.”

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In a conversation moderated by Emmy-nominated editor Michael Ruscio, ACE, three of the pros behind FX’s Say Nothing — creator and writer Joshua Zetumer, director Michael Lennox and cinematographer Stephen Murphy — delve into the process of crafting the haunting historical drama. Adapted from the nonfiction book of the same name by Patrick Radden Keefe, the scripted series conveys the complexity of the Troubles in Northern Ireland during the 1970s, ’80s and ’90s. Lennox, a Northern Ireland native, originally thought the Troubles were a story that he — like anyone from the area — knew in full. But his experience on the series opened his eyes to many of the details and horrors from the traumatic period. “We know what happened in the late ’60s to the present day, but I didn’t quite know it to this depth,” he says. “I felt that this could be an important piece of television which asked some really profound and tough and interesting questions, and I wanted to be part of that.”

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In this episode recorded live on May 8 at the American Society of Cinematographers Clubhouse in Los Angeles, production designer François Audouyon (whose credits include A Complete Unknown) moderates a conversation with three of the creators behind Amazon Prime Video’s 'Étoile': production designer Bill Groom, choreographer Marguerite Derricks and director of photography M. David Mullen, ASC. For the comedy set in the rarefied world of professional ballet, the team cast 20 professional dancers in both Paris and New York — not to mention as many as 80 SAG-AFTRA dancers for company class scenes — and shot primarily on location and in real theaters in the two cities. "I said to our producer, if we can't go to Paris and find locations to shoot in, we should all be fired," Groom says. "But we ended up building so much there, because Paris is a really difficult place to shoot.

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In this episode recorded live on May 8 at the American Society of Cinematographers Clubhouse in Los Angeles, director Jennifer Arnold speaks with three of the creators behind Netflix’s American Primeval: director of photography Jacques Jouffret, ASC, makeup department head Howard Berger and sound designer Wylie Stateman. The limited series follows the battle for control of the American West in 1857 through the eyes of a mother (Betty Gilpin) and son, on the run with the help of a steely mountain man (Taylor Kitsch). “Brutal, dirty and grimy,” Jouffert says, is what director Peter Berg wanted for the 19th century Western, and the three artisans share how they delivered, shooting in changeable weather and light at 10,000 feet, creating authentic indigenous looks and developing a distinct sonic signature for cold wind.

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In this episode recorded live on May 8 at the American Society of Cinematographers Clubhouse in Los Angeles, cinematographer Nicole Hirsch Whitaker, ASC speaks with three of the creators behind Peacock’s The Day of the Jackal thriller series: director and executive producer Brian Kirk, costume designer Natalie Humphries and director of photography Christopher Ross. The series follows the cat-and-mouse saga of an assassin (Eddie Redmayne) and a British intelligence officer (Lashana Lynch), a twisty tale that leans into the legacy of British spy novels but with a modern edge. When creator Ronan Bennett told Kirk he wanted to set the series "in a world where everybody lies about everything all the time,” Kirk recalls, “I was immediately attracted to the prospect.”

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The New York Times gave author Michael Wolff’s new book a glowing review, but President Donald Trump disagrees, calling it a “total FAKE JOB, just like the other JUNK he wrote.” As with Wolff’s three earlier books about the president, All or None is filled with juicy tidbits with fly-on-the-wall accounts from the chaos inside Trump’s orbit. In unsparing words, he talks to Janice Min about woeful Democrats, Elon Musk, Melania, media’s current panic and and the threatening phone call he received from Trumpworld.

In this episode recorded live on November 12 at the American Society of Cinematographers Clubhouse in Los Angeles, director Patricia Riggen speaks with four of auteur Steve McQueen’s collaborators on his World War II drama Blitz for Apple Original Films: production designer Adam Stockhausen, editor Peter Sciberras, and supervising sound editors James Harrison and Paul Cotterell. The film recreates events from Germany’s devastating bombardment of London in 1940-41, while also following a mother and son trying to find each other amid the mayhem. “We have to keep retelling these stories, because we keep making the same mistakes,” Harrison says. “We have to keep reminding ourselves of the terror of the past.”

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In this episode recorded live on November 12 at the American Society of Cinematographers Clubhouse in Los Angeles, Michael Ruscio, ACE, speaks with three of the creators behind director Jacques Audiard’s Emilia Pérez: composers/songwriters Clément Ducol and Camille and editor Juliette Welfling. Netflix’s spectacular Spanish-language musical drama, which centers on a Mexican drug kingpin who transitions to live as a woman, is a genre-bending “phantasmagoria,” as Camille puts it. Welfling, a longtime Audiard collaborator, “learned that he was even more crazy than I thought,” she says. “Please, Jacques, stay crazy!”

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