For this all new episode of Light the Wick, we’re once again chatting with master cinematographer Dan Laustsen, who shot “John Wick: Chapter 2” and "Chapter 3." This time we discuss the challenges of bloody squibs before moving onto his long collaboration with Guillermo del Toro (set to continue with this year’s “Nightmare Alley”), including a few projects that never happened. We then quiz him on several of his other projects including “Brotherhood of the Wolf” and “The League of Extraordinary Gentlemen.”

We’re back in the bullet-riddled world of Light the Wick, as we interview the genuinely incredible cinematographer Dan Laustsen, who shot “John Wick: Chapter 2” and "Chapter 3." In this installment we speak to Laustsen about the fun of shooting action sequences, working with Keanu Reeves, the challenges of filming on location in New York City (especially Chinatown), and how important lighting is in the franchise. Also: find out what colors are off-limits in the "John Wick" universe!

We are once again joined by the legendary filmmaker, “Are Snakes Necessary?” author and director of the first “Mission: Impossible” film Brian De Palma and his co-author Susan Lehman. In this episode we discuss the unmade prequel films to some of his earlier projects, why he isn’t interested in “Mission: Impossible” sequels, and what happened with the musical score (with Alan Silvestri replaced by Danny Elfman). We also get into some potential future projects, which is really exciting.

This is the moment we’ve all been waiting for – we interview living legend and the filmmaker behind the first “Mission: Impossible” film, Brian De Palma. We are joined in the conversation with Susan Lehman, De Palma’s co-author for his debut novel “Are Snakes Necessary?” In this installment we discuss the foundation of the book, where the title came from, and get into some “Mission: Impossible” talk, including the crucial feedback George Lucas provided. Buckle up, this was worth the wait.

This week we continue our fascinating chat with Pete Romano, an underwater director of photography on four of the “Mission: Impossible” movies. We talk about the challenges with “Fallout,” working with Wade Eastwood, and some of his other collaborators, including Wes Anderson, Kathryn Bigelow, and Michael Bay! Also, we get some new “Color of Night” details. Caution: you may get wet.

We are beyond thrilled to be joined this week by Pete Romano, an underwater director of photography who worked on four of the “Mission: Impossible” movies. He talks about beginning on the franchise with an uncredited role and how there might be a big underwater sequence in the eighth movie. Plus, get details about what it’s like working with James Cameron. No scuba gear necessary!

This week we are thrilled to be joined by Sean Gerace, who was one of J.J. Abrams’ assistants during the production of “Mission: Impossible III”! He tells the story of how Tom Cruise got interested in Abrams (it involves “War of the Worlds” and a box set of “Alias”), discusses the shoot in Italy, and shares a tidbit about one of the filmmakers previously associated with the project coming to set. It’s a wild trip down memory lane!

We’re back this week with New York Magazine film critic and editor Bilge Ebiri, this time talking about how “Mission: Impossible – Fallout” is like sex, his need to revisit the second and third films, and his confusion over "Rogue Nation" (Drew is not alone). Also, Bilge explains how the franchise is all about the crew that puts these movies together aka the true IMF. Plus a brief discussion of Malick, Kubrick and Coppola!

This week we are joined by New York Magazine film critic and editor Bilge Ebiri, who has written about the franchise extensively in the past. He discusses the movie’s place in modern action cinema, talks about why he hates “Mission: Impossible 2” and discusses how the first film is a perfect Brian De Palma movie (and how there are hints of weird sex). It’s a blast.

In the final installment of our latest chat with Paul Hirsch, editor of “Mission: Impossible” and author of “In a Cutting Room Far, Far Away,” we talk more about his work with Brian De Palma, how Steve Martin would just park illegally since he could afford the ticket, and how his job as a “movie doctor” on “Exorcist III” was true hell. Also, get details on an unproduced (and never discussed) John Hughes project.