Storytelling is more than just what the script describes, and today we’re talking with Cinematographer Shawn Peters about how his work on Apple TV+’s “The Last Days of Ptolemy Grey” helped shaped the look of the limited series. We also talk about Shawn’s unusual career path, and - for listeners who stick around to the end - how collaborating on set is like being in a relationship.

Costume Designer Helen Huang returns to the podcast to talk about “Station Eleven,” the 10-episode miniseries that aired on HBO Max last winter. This was probably my favorite tv series of both 2021 and 2022 (so far), and it was interesting to speak with Helen about designing for a post-apocalypse where hope is not dead.

Of all my work in Hollywood, 2003’s “Big Fish” was one of my favorite projects (I was the 2nd 2nd Assistant Director). For this episode, I’m joined by screenwriter John August, who I met when he visited us on location in Alabama. John talks about working with Tim Burton and the challenges of being a writer on set. Oh, and did you know there was a Broadway adaptation of the movie? I had a few questions about that as well.

2020’s “Promising Young Woman”, despite its limited budget and short shooting schedule, is a tour de force. My guest today, Production Designer Michael Perry, talks about approaching each set with either “masculine” or “feminine” intentions, and how those intentions subtly contribute to the overall story. 

“The Walking Dead” will wrap it’s 11-season run on AMC later this year. The series is filmed just outside Atlanta, and my guests today — Best Boy Grip Frankie Zamora and Grip Nicole Higgins — talk about their work on Season 10 of the show. Do Grips on Walking Dead work much harder than the Electric Department? Listen and decide for yourself.

Taylor Sheridan’s “1883”, currently available on Paramount+, is a prequel to the hugely successful “Yellowstone” series (four seasons of which are exclusively available on NBC’s Peacock streaming service). My guest today is the Lead Editor, Chad Galster, who shares stories about how his long relationship with Taylor informs his work on this standalone, attention-getting series.

2021’s “Ghostbusters: Afterlife” is both a continuation of and an homage to the original Ghostbusters story. Not only can fans see the tribute on the screen, they can hear it in the soundscape. Today I’m joined by Production Sound Mixer Steve Morrow, Supervising Sound Editor Perry Robertson, and Re-recording Mixer/Supervising Sound Editor Will Files to explore how the iconic sounds of the original are an integral aspect of the new film.

“The Gilded Age”, which recently concluded its first season on HBO Max, explores the various social forces at play in the New York City of 1882. The theme of old money vs new money is reflected in the sets themselves, and Set Decorator Regina Graves joins me to discuss the challenges and rewards of bringing this period drama to life.

Welcome to Season 12 of the podcast! We’re kicking it off with a look back at this year’s Oscars ceremony, specifically the Academy’s decision to prerecord eight of the 23 awards during the hour preceding the live broadcast, and then air edited segments during the ceremony itself. Set Decorator Rena DeAngelo (nominated this year for her work on West Side Story) tells us what happened during that hour of pre-show taping, and Writer/Director/Editor Christopher Angel (who last joined us to discuss this year’s nominees for Film Editing) analyzes how those early acceptance speeches were censored for the telecast.

It’s been 10 episodes of film industry professionals sharing the benefits of their expertise, and we’re concluding our Oscar series with an in-depth look at the nominees for Cinematography. My guests — Patrick Cady and Shawn Peters — are directors of photography with stories to share. Enjoy the Academy Awards this weekend! I hope our insights have prepared you for the ceremony. (Episode 10 of 10).