“Nobody's perfect. There was never a perfect person around. You just have half-angel and half-devil in you.”

Cinematographer Marcus Patterson joins Movies We Like hosts Andy Nelson and Pete Wright to discuss Terrence Malick's 1978 masterpiece Days of Heaven. Drawing from his own experience shooting the anthology film Sunfish (& Other Stories on Green Lake), Patterson explores how Malick and cinematographers Néstor Almendros and Haskell Wexler crafted one of cinema's most visually stunning achievements through their innovative use of natural light and magic hour photography.

Patterson's journey to cinematography wasn't direct – he tried acting, writing, and editing before discovering his passion behind the camera. Starting with short films in Alabama, he developed his craft through countless projects before moving to Los Angeles. His work on Sunfish demonstrates his ability to capture intimate human moments while maintaining a painterly approach to composition and lighting, particularly in natural settings.The conversation explores how Days of Heaven revolutionized the use of natural light in cinema, with Patterson offering technical insights about how Almendros and Wexler achieved their remarkable images. Through Linda Manz's narration, the film presents its tragic love triangle from a child's perspective, creating emotional distance that heightens rather than diminishes its impact. Patterson connects these techniques to his own work on Sunfish, particularly in capturing the languid atmosphere of lake life and the delicate interplay of light and water.

In both films, we see how careful attention to natural light and composition can elevate storytelling beyond mere narrative into the realm of visual poetry. Patterson's deep appreciation for Days of Heaven and its influence on his own work reveals how cinema's visual language continues to evolve while remaining rooted in these foundational techniques of capturing light and life on film.

🎬 Watch & Discover

• 📺 Watch our Raw Conversation on YouTube
• 👤 Meet Marcus Patterson: IMDb | Website | Instagram | Letterboxd
• 🍿 Watch Sunfish: Screenings | Apple TV | Letterboxd
• 🍿 Watch Days of Heaven: Apple TV | Amazon | Letterboxd
• 📽️ Original Theatrical Trailer

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The Next Reel Family of Film Podcasts:

• Cinema Scope: Bridging Genres, Subgenres, and Movements
• The Film Board
• Movies We Like
• The Next Reel Film Podcast
• Sitting in the Dark

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“All those moments will be lost in time... like tears in rain.”

A Legacy of Light and Shadow
Cinematographer Jeff Cronenweth joins Movies We Like hosts Andy Nelson and Pete Wright to explore Ridley Scott's groundbreaking 1982 film Blade Runner. As the son of the film's original cinematographer Jordan Cronenweth, Jeff brings a unique perspective on both the technical achievements and lasting influence of this sci-fi noir masterpiece. With his recent work on Tron: Ares hitting theaters, Cronenweth reflects on how Blade Runner continues to inspire filmmakers and cinematographers four decades later.

From early experiences on film sets with his father to becoming David Fincher's go-to cinematographer on films like Fight Club, The Social Network, and The Girl with the Dragon Tattoo, Cronenweth has built a career focused on visual storytelling that serves character and narrative. He describes his approach as seeking human stories within any genre, whether period drama or science fiction. His transition from film to digital cinematography reflects broader industry changes, while maintaining his commitment to thoughtful, story-driven imagery.

The conversation explores how Blade Runner created its influential neo-noir aesthetic with remarkably limited technical resources, including just three xenon lights for its iconic beam effects and borrowed neon lights from Francis Ford Coppola’s One from the Heart set. Cronenweth shares insights into the film's production challenges and creative solutions, from practical lighting techniques to Ridley Scott's visionary production design. The discussion examines how the film balances its high-concept science fiction premise with intimate character moments, creating a template for genre storytelling that continues to resonate. Cronenweth also offers perspective on the various cuts of the film and its 2017 sequel.

Through this engaging conversation, Cronenweth illuminates not just the technical mastery behind Blade Runner, but its enduring impact on cinema. His unique connection to the film through his father, combined with his own distinguished career, offers viewers fresh insights into this landmark work of science fiction and its continuing influence on visual storytelling.

🎬 Watch & Discover

• 👀 Watch the Full Conversation on YouTube
• 👤 Meet Jeff Cronenweth: IMDb | Instagram
• 🍿 Watch the Film: Apple TV | Amazon | Letterboxd
• 📽️ Original Theatrical Trailer
• 📚 Adapted from Do Androids Dream of Electric Sheep? by Philip K. Dick

Support The Next Reel Family of Film Podcasts:

• Become a member for just $5/month or $55/year
• Join our Discord community of movie lovers

The Next Reel Family of Film Podcasts:

• Cinema Scope: Bridging Genres, Subgenres, and Movements
• The Film Board
• Movies We Like
• The Next Reel Film Podcast
• Sitting in the Dark

Connect With Us:

• Main Site: Web
• Movie Platforms: Letterboxd | Flickchart
• Social Media: Facebook | Instagram | Threads | Bluesky | YouTube | Pinterest
• Your Hosts: Andy | Pete

Shop & Stream:

• Merch Store: Apparel, stickers, mugs & more
• Watch Page: Buy/rent films we've discussed
• Originals: Source material from our episodes
• Special offers: Letterboxd Pro/Patron discount | Audible

“When my father passed, I wanted nothing more than my mother's happiness. For what kind of man would I be if I did not help my mother?”

Production designer Andrew McAlpine joins hosts Andy Nelson and Pete Wright to discuss Jane Campion's The Power of the Dog. Drawing from his extensive career including work on The Piano with Campion herself, McAlpine offers unique insights into the film's exploration of isolation, masculinity, and the psychological complexity of its characters. His perspective as both a fellow New Zealander and previous Campion collaborator brings fresh depth to this haunting Western drama.

McAlpine's journey from aspiring surgeon to art school graduate led him through theater, holography, and eventually to production design. His work spans diverse projects including Sid and Nancy, Clockers, The Beach, and Aeon Flux. McAlpine approaches each film with an emphasis on authentic period detail while avoiding heavy-handed historical recreation, allowing the environment to serve the emotional truth of the story rather than mere accuracy.

The conversation explores how The Power of the Dog examines masculine isolation through Phil's character, drawing parallels to McAlpine's work on The Piano. He highlights the film's masterful use of landscape and architecture to amplify psychological tension, particularly through the imposing ranch house. The discussion delves into Peter's character complexity and the film's careful build toward its devastating conclusion. McAlpine offers fascinating insights into how Campion's direction creates space for both brutality and vulnerability in her characters.

🎬 Watch & Discover

• 🎥 Watch our conversation on YouTube!
• 👤 Meet production designer Andrew McAlpine: IMDb | Website
• 👼 Check out ArtAngel
• 🍿 Watch the Film: Apple TV | Amazon | Letterboxd
• 📽️ Original Theatrical Trailer
• 📚 Adapted from The Power of the Dog by Thomas Savage

Support The Next Reel Family of Film Podcasts:

• Become a member for just $5/month or $55/year
• Join our Discord community of movie lovers

The Next Reel Family of Film Podcasts:

• Cinema Scope: Bridging Genres, Subgenres, and Movements
• The Film Board
• Movies We Like
• The Next Reel Film Podcast
• Sitting in the Dark

Connect With Us:

• Main Site: Web
• Movie Platforms: Letterboxd | Flickchart
• Social Media: Facebook | Instagram | Threads | Bluesky | YouTube | Pinterest
• Your Hosts: Andy | Pete

Shop & Stream:

• Merch Store: Apparel, stickers, mugs & more
• Watch Page: Buy/rent films we've discussed
• Originals: Source material from our episodes
• Special offers: Letterboxd Pro/Patron discount | Audible

“When you're scared all the time, you reach a point when you wish you were dead.”
Talking About Takeshi Kitano’s Sonatine with our guest, Production Designer Liz Bischof
Production designer Liz Bischof joins Movies We Like to discuss Sonatine, Beat Takeshi's 1993 meditative yakuza film that masterfully blends moments of shocking violence with poetic contemplation. As a special guest who has worked on projects ranging from Broadway's Aladdin to Apple TV+'s See, Bischof brings unique insights into the film's visual language and thoughtful approach to production design.
In our wide-ranging conversation, Bischof shares her journey from props maker for international opera companies to production designer for film and television. She discusses her recent work on A Nice Indian Boy and upcoming thriller Getaway starring Jason Biggs in his directorial debut, before diving deep into why Takeshi Kitano's Sonatine left such a lasting impression on her when she first saw it at the Rotterdam Film Festival. The film's minimalist aesthetic, strategic use of color (particularly in the red and blue motifs), and carefully composed shots that often feel like still life paintings exemplify what draws her to this unique take on the yakuza genre.
The discussion explores how Kitano, primarily known as a comedian in Japan at the time, crafted this deliberately paced crime drama about a tired gangster (played by Kitano himself) sent to Okinawa. The film's remarkable middle section, where the characters retreat to a beach and briefly recapture moments of childhood play, provides a stark contrast to the inevitable violence that bookends the story. Bischof particularly appreciates how the film's production design reinforces themes through its use of gritty, fluorescent-lit spaces in the city scenes versus the poetic beauty of the beach sequences.
Sonatine remains a masterpiece of 90s Japanese cinema that rewards patient viewers with its unique blend of violence, humor, and existential meditation. Our conversation with Liz Bischof illuminates how the film's thoughtful design choices and visual poetry continue to influence and inspire filmmakers and designers nearly 30 years after its release.
Film Sundries

• Watch this episode on YouTube!
• Find Liz on her website, her Instagram, or on IMDb
• Watch this on Apple or Amazon, or find other places at Letterboxd
• Theatrical trailer

“All your followers are blind, Too much heaven on their minds, It was beautiful but now it's sour, Yes it's all gone sour.”
Talking About Jesus Christ Superstar with our guest, editor Lucy Donaldson
Film editor Lucy Donaldson joins Andy Nelson and Pete Wright to discuss Norman Jewison's bold 1973 musical adaptation Jesus Christ Superstar and share insights from her impressive editing career. From working on acclaimed projects like Ma to recent hits like A Haunting in Venice, Donaldson brings her expert perspective to analyzing what makes this unconventional rock opera work so magnificently on screen.
In this entertaining and insightful conversation, Donaldson opens up about her journey in the film industry, from her early days at the National Film and Television School to assisting on major productions at Blumhouse before landing breakthrough editing opportunities. The discussion explores the collaborative nature of film editing, working with directors, and how test screenings help shape the final cut. The conversation then dives deep into Jesus Christ Superstar, examining how Jewison's creative vision of hippie performers telling the Biblical story in the Israeli desert creates a uniquely compelling cinematic experience. From the magnetic performances of Ted Neely as Jesus and Carl Anderson as Judas to the bold editing choices and striking cinematography, the group analyzes what makes this controversial film continue to resonate decades later.
With its daring artistic choices, memorable musical numbers, and raw emotional power, Jesus Christ Superstar remains a fascinating piece of cinema that challenges conventional storytelling. Through Donaldson's thoughtful analysis and personal connection to the film, we gain new appreciation for this groundbreaking rock opera that shouldn't work on paper but absolutely triumphs on screen. This engaging discussion with a talented editor offers wonderful insights into both the craft of film editing and the enduring impact of bold artistic vision.
Film Sundries

• Watch the conversation on YouTube
• Lucy’s Website
• Watch this on Apple or Amazon, or find other places at Letterboxd
• Theatrical trailer
• Original Material

“There's something in the atmosphere that makes everything seem exaggerated.”
Talking About Powell & Pressburger’s 1947 film Black Narcissus with our guest, screenwriter James Handel
In this episode of Movies We Like, screenwriter James Handel joins hosts Andy Nelson and Pete Wright to discuss Michael Powell and Emeric Pressburger's 1947 masterpiece Black Narcissus, along with Handel's fascinating career writing genre-bending films like The Last Horror Movie, The Hoarder, and his latest psychological dramedy The Trouble with Jessica.
From Philosophy to Film
Before diving into Black Narcissus, Handel shares candid insights about his journey from philosophy student to screenwriter, starting with an unproduced vampire script and eventually leading to successful collaborations with directors Julian Richards and Matt Winn. He discusses how his background in philosophy influences his approach to moral dilemmas and character psychology in his screenplays, particularly evident in The Trouble with Jessica's darkly comic exploration of ethics and human nature.
A Masterpiece of Psychological Drama
The conversation then turns to Black Narcissus, examining how Powell and Pressburger crafted this visually stunning psychological drama about Anglican nuns attempting to establish a convent in the Himalayas. The group discusses the film's groundbreaking technical achievements, with Jack Cardiff's Oscar-winning Technicolor cinematography bringing the entirely studio-shot production to vivid life. They explore how the film masterfully depicts the psychological deterioration of the nuns as they struggle with repressed desires, loss of faith, and the overwhelming power of their environment, all while maintaining a remarkable balance between expressionism and restraint.
Black Narcissus remains a masterclass in psychological storytelling and visual craftsmanship, demonstrating how thoughtful restraint and artistic innovation can create an unforgettable cinematic experience. We thoroughly enjoyed diving deep into this classic with James Handel, whose own work carries forward the tradition of examining complex moral questions through compelling drama.
Film Sundries

• Watch our conversation on YouTube!
• Watch this on Apple or Amazon, or find other places at Letterboxd
• Script Options
• Theatrical trailer
• Original Material

“If you really want to hear my story, you’ll first have to get used to the idea that you won’t be hearing a pleasant story.”

Talking About Michael Schaack’s Felidae with our guests, Deaf Crocodile’s Dennis Bartok and Craig Rogers
Join us for a fascinating conversation with Dennis Bartok and Craig Rogers, co-founders of Deaf Crocodile Films, as we explore their journey in film restoration and distribution, culminating in their latest release—the 1994 German animated noir Felidae. From their early days working together at Cinelicious Pictures to launching Deaf Crocodile during the pandemic, these passionate film preservationists have rescued nearly 70 films from obscurity thus far.
The heart of our discussion centers on Felidae, a dark animated detective story following Francis, a cat who moves to a new neighborhood only to find himself embroiled in a series of gruesome murders. The film, based on the first of Akif Pirinçci's novel series, pushes boundaries with its mature themes, graphic violence, and surprising commentary on eugenics. We dive deep into the challenging restoration process, including the race against time to preserve the deteriorating original negative, and the fascinating history of this ambitious international animation project that featured Boy George on its soundtrack.
Beyond Felidae, Dennis and Craig share incredible stories about their other restorations, including the rediscovery of Solomon King, a lost 1974 black action film they found through its soundtrack album. They discuss their philosophy on film restoration, the challenges of securing rights to forgotten films, and their commitment to preserving cinema history while making these works accessible to modern audiences.
This episode offers a rare glimpse into the world of film restoration and distribution, highlighting how passionate individuals are working to save important pieces of cinema history. Felidae stands as a prime example of their work—a unique, challenging animated film that deserves to be rediscovered by modern audiences, and we had a wonderful time discussing it with these dedicated film preservationists.
Film Sundries

• Check out Deaf Crocodile!
• Tune in to The Official Deaf Crocodile Podcast
• Find Deaf Crocodile on Instagram, Bluesky, and Twitter
• Find Dennis on IMDb
• Listen to Pete’s and Andy’s conversation about Gangs of Wasseypur Part 1 and Part 2 on The Next Reel Film Podcast
• Listen to Pete’s and Andy’s conversation about Dead Mountaineer’s Hotel on The Next Reel Film Podcast
• Listen to Pete’s and Andy’s conversation about Kin-Dza-Dza! on The Next Reel Film Podcast
• Watch our conversation on YouTube!
• Find other places to watch this at JustWatch
• Script Options
• Theatrical trailer (restoration version)
• Original Material
• Letterboxd

“I thought I saw a specter at your shoulder.”
Ian Seabrook, acclaimed underwater cinematographer behind upcoming Last Breath and next year's live-action Moana, joins us to dive deep into the 1965 James Bond classic Thunderball. With decades of experience filming beneath the waves, including recent work on Indiana Jones and the Dial of Destiny, Old, and Jungle Cruise, Seabrook shares fascinating insights about his journey from amateur underwater photographer to Hollywood cinematographer, and why Thunderball remains such an influential film in his career.
From the groundbreaking 10-minute underwater battle sequence to the technological innovations that made filming underwater possible in the 1960s, we explore how Thunderball pushed the boundaries of what could be achieved on camera beneath the waves. Seabrook offers unique perspective on how underwater filming has evolved from the days of pure practical effects to modern CGI, while discussing his work on recent films like Last Breath and the vital importance of creating safe, comfortable environments for actors working underwater. The conversation spans everything from early influences like National Geographic magazines to legendary underwater filmmaker Ricou Browning (who directed Thunderball's underwater sequences and famously played the Creature in Creature from the Black Lagoon) to the challenges of directing actors underwater and building trust with performers who may be facing their fears in an unfamiliar environment.
Whether you're a James Bond fan or simply interested in the craft of filmmaking, this discussion illuminates why Thunderball remains a landmark achievement in underwater cinematography. Ian's passion for his craft and deep knowledge of both the technical and artistic aspects of underwater filming made for an engaging conversation about this classic film that helped establish underwater action sequences in modern cinema.
Links

• Find Ian on his website, on IMDb, or on Instagram
• Watch this on Apple or Amazon, or find other places at JustWatch
• Script Options
• Theatrical trailer
• Original Material and on Audible
• Letterboxd

“And I want my scalps!”

Talking About Inglourious Basterds with our guest, cinematographer Shane Hurlbut
In this engaging episode of Movies We Like, acclaimed cinematographer Shane Hurlbut joins hosts Andy Nelson and Pete Wright to discuss Quentin Tarantino's masterpiece Inglourious Basterds and share fascinating stories from his illustrious career behind the camera. From his humble beginnings on a farm in upstate New York to becoming one of Hollywood's most innovative cinematographers, Hurlbut's journey is filled with determination, creativity, and a fearless approach to his craft.
The conversation delves deep into what makes Inglourious Basterds a cinematographic triumph, with Hurlbut breaking down the brilliant work of Robert Richardson and how the film's visual style enhances its storytelling. He discusses the importance of tension-building in Tarantino's work, the strategic use of lighting, and how the film's iconic scenes were crafted to maximize dramatic impact. The discussion also explores the significance of color, particularly the use of red throughout the film, and how it ties into the narrative themes.
Hurlbut shares incredible behind-the-scenes stories from his own career, including his innovative work on films like Drumline, Terminator Salvation, and The Babysitter. He details how he overcame challenging shooting conditions, developed creative solutions to technical problems, and established strong collaborative relationships with directors like McG and Charles Stone III. His anecdotes about transforming limited resources into cinematic gold provide valuable insights into the art of cinematography.
Inglourious Basterds stands as a testament to the power of masterful filmmaking, where every technical element serves the story's emotional core. Our conversation with Shane Hurlbut not only illuminated the brilliant craftsmanship behind this modern classic but also demonstrated how passion, innovation, and fearless creativity continue to push the boundaries of cinematic storytelling.
Film Sundries

• Find Shane on his website, Facebook, Instagram, and IMDb
• Learn more about Filmmakers Academy on their YouTube channel
• Watch this on Apple or Amazon, or find other places at JustWatch
• Script Options
• Theatrical trailer
• Letterboxd

“I told you: being afraid is the worst sin there is.”

Talking About Jean-Luc Godard’s Breathless with our guest, Cinematographer and Filmmaker Andrew Wonder
Cinematographer Andrew Wonder joins hosts Andy Nelson and Pete Wright to discuss his recent work on Paul Schrader's Oh, Canada starring Richard Gere, and share his passion for Jean-Luc Godard's 1960 French New Wave classic Breathless. Wonder reflects on his fascinating journey in the film industry, from starting at MTV at age 17 to his current work as both cinematographer and director. He provides fascinating insights into shooting Oh, Canada, including technical details about how different actors photograph on camera and his approach to working with established performers like Richard Gere.
The conversation explores the innovative techniques used in Breathless, including the famous jump cuts that came about when Godard needed to cut the film down from 2.5 hours to 90 minutes. Wonder shares his deep appreciation for how the film was made, including behind-the-scenes stories like how they achieved the iconic street scenes using a modified mail cart to hide the camera. The discussion examines how the French New Wave's approach to filmmaking continues to influence modern cinema, and the importance of preserving cinematic history while pushing boundaries in contemporary filmmaking.
The discussion delves into the challenges facing contemporary filmmakers, the state of modern cinema, and how films like Breathless can inspire new generations of creators. Wonder also shares his thoughts on current filmmakers who are innovating within the medium and carrying forward the spirit of experimentation that marked the French New Wave era.
Whether you're a fan of French New Wave cinema, interested in the craft of cinematography, or curious about the state of modern filmmaking, this episode offers valuable insights into both classic and contemporary cinema. Wonder's enthusiasm for Godard's groundbreaking work, combined with his own experiences behind the camera, makes for an engaging discussion that reminds us why Breathless remains a pivotal film in cinema history.
Film Sundries

• Find Andrew on Instagram, IMDb, or his own website
• Check out Everything Is Cinema: The Working Life of Jean-Luc Godard
• Tune in to our conversation about Chameleon Street on The Next Reel
• Tune in to our conversation about the French New Wave on Cinema Scope
• Watch Breathless on Apple or Amazon, or find other places at JustWatch
• Theatrical trailer
• Letterboxd