SEASON 2 - EPISODE 142 - Michael Shannon - Actor

Actor Michael Shannon (THE BIKERIDERS, GEORGE & TAMMY, MAN OF STEEL) joins us in this episode of the Team Deakins Podcast. We worked with Michael on REVOLUTIONARY ROAD, and we had a wonderful time catching up with him. Michael shares how he first stumbled into acting, which early-career play of his took him from a tiny theatre in Chicago to the West End and Off-Broadway, and why the experience of actors coming up today is so unlike his own. We also discuss his longtime collaborative relationship with director Jeff Nichols (Season 1, Episode 28), and we reflect on his penchant for projects concerning the end of the world. We also discuss his work in TAKE SHELTER, and we learn how Michael coped with sleeping in an abandoned building during the shoot. Throughout the conversation, Michael shares his opinions on rehearsing, remaining in character after a long day, and repetitive takes, and after learning Michael just directed his first film, we ask if his perspective as an actor has changed at all.

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Recommended Viewing: TAKE SHELTER

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This episode is sponsored by Profoto & Aputure

SEASON 2 - EPISODE 141 - DP & VFX Relationship - with Greig Fraser & Paul Lambert

In this episode of the Team Deakins Podcast, cinematographer Greig Fraser (Season 1, Episodes 29, 57, 63, 69 & Season 2, Episodes 50, 51, 100) and VFX supervisor Paul Lambert (Season 1, Episode 107) return to talk about the modern relationship between the cinematography and visual effects departments. Throughout the episode, we frequently refer to Paul’s and Greig’s collaboration on both DUNE films, and they reveal how they realized several scenes and overcame the endless challenges of shooting the film with the support of one another. They share why they utilized painted backings to assist in set extension over blue screens or LED walls, and we later swap strategies for figuring out how to maintain the illusion of a flying helicopter. Greig also reveals what makes him proud about a particular all-CG shot in DUNE: PART II, and Paul breaks down what an audience really means when they see “bad CGI” in a film. Towards the end, we discuss the merging of animation and live-action filmmaking, and we look ahead to what the future may bring.

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Recommended Viewing: DUNE (2021), DUNE: PART II (2024)

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This episode is sponsored by Aputure & Profoto

SEASON 2 - EPISODE 140 - Jon Alexander - Compositing Supervisor

In this episode of the Team Deakins Podcast, we speak with compositing supervisor and visual effects artist Jon Alexander (DEADPOOL & WOLVERINE, AVENGERS: AGE OF ULTRON, THE PHANTOM MENACE). Jon was witness to a number of milestones in the history of visual effects, and throughout the episode, Jon shares numerous stories from his long career at Industrial Light & Magic (ILM), granting us insight into a time he likens to as the Italian Renaissance. From optical printers to artificial intelligence, Jon shares his experiences working with the many pieces of technology responsible for manipulating images, and he reveals the level of focus he and his colleagues at ILM shared when it came to problem-solving (even during an earthquake!). In addition to his work in film, Jon has also worked on projects for The Sphere in Las Vegas, and he shares what he believes to be the distinctive traits of and the possible uses for the new technology. Jon also reveals what he saw as a groundbreaking advancement in visual effects while working on HOWARD THE DUCK, and we compare past and present VFX techniques. Plus, we break down how optical visual effects are actually made.

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This episode is sponsored by Profoto & Aputure

SEASON 2 - EPISODE 139 - Camera Movement - with Tom Cross & Ed Lachman

In this special episode of the Team Deakins Podcast, editor Tom Cross (Season 1, Episodes 129 & 139) and cinematographer Ed Lachman (Season 1, Episode 77 & Season 2, Episode 132) return to join us in a discussion about camera movement. From Douglas Sirk’s sweeping camera moves to Robert Bresson’s measured stillness, the four of us bring up examples of when camera movement (or its lack thereof) affects us, and we discuss why we believe choosing when and how to move the camera all comes down to what feels emotionally right for the story. When our conversation inevitably turns to 1917, we reflect on the variety of camera moves within the “single shot” of the film, and we discuss how the contrast of a camera move that diverges from a film’s established language can more appropriately express character and a beat within the story. Ed also shares the unique method of filming practiced by studio era director George Stevens, and Tom reveals how he and director Damien Chazelle (Season 2, Episode 23) restitched the roaming camera move of the opening musical number in LA LA LAND. Throughout the episode, we draw on our own experiences as filmmakers and from our observations on a myriad of films across film history, and the conversation evolves to cover the relationship between editing and cinematography.

A big thank you to Ed and Tom for coming back to talk with us!

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This episode is sponsored by Aputure & Profoto

SEASON 2 - EPISODE 138 - Suzie Davies - Production Designer

In this episode of the Team Deakins Podcast, we speak with production designer Suzie Davies (CONCLAVE, SALTBURN, MR. TURNER). Suzie once thought she’d be a sheep farmer, but after working for model-makers on commercials, she found herself drawn to the art department and filmmaking. A frequent collaborator with director Mike Leigh (Season 1, Episode 76), Suzie reveals how they first met and how she works with him within his unique process. We also learn how the boundaries of production inform Suzie’s general approach to design, and she shares how she tries to help directors realize their creative visions within these limits. Later, Suzie reflects on the challenge of finding period locations in the modern world, and we discuss how she augments locations to suit the film’s reality. Suzie also shares what made the estate in SALTBURN so unique as a location, and we learn how she balanced the production of that film with weekend location scouts in Rome for CONCLAVE. Throughout the episode, Suzie reflects on how she made the most of the opportunities presented to her throughout her career, and we discuss the enduring appeal of being just a sheep farmer.

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This episode is sponsored by Aputure

SEASON 2 - EPISODE 137 - Stefan Nikolov - Location Manager

Location manager Stefan Nikolov (SOMEBODY SOMEWHERE, JUSTIFIED: CITY PRIMEVAL, SHAMELESS) joins us in this episode of the Team Deakins Podcast. Originally from Bulgaria, Stefan followed his journalist parents around the world before landing in Chicago where he has since built a career in the locations department. We discuss how he worked his way up the ladder, and Stefan breaks down the different roles in the department. Throughout our conversation, Stefan shares many stories from his career, and we learn what to do when an alligator hunt prevents the crew from parking the vans where you need them. We also learn about the potential consequences of living in a home made famous on television, and we discuss why a film would come to Chicago to shoot for another real-world location. And at the end, Stefan gives his advice to anyone trying to break into the locations department.

This episode was recorded in front of a live audience in Chicago at the Athenaeum Center. 

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This episode is sponsored by Aputure

SEASON 2 - EPISODE 136 - Judy Becker - Production Designer

In this episode of the Team Deakins Podcast, we speak with production designer Judy Becker (THE BRUTALIST, CAROL, BROKEBACK MOUNTAIN). Judy’s love for art and collaboration began at the age of 3 and developed throughout her childhood, and after discovering the theatre department in high school, she found her way into the New York filmmaking scene. Having worked in a number of projects across many different periods of history, Judy shares how she approaches bringing those spaces to life, and we reflect on the fact that absolute accuracy to a period doesn’t always look real on the screen. Later, during our discussion of her work on THE BRUTALIST, Judy reflects on the challenges of communicating with a crew whose language is nothing like her own, and she reveals how they fought for scraps of plywood and found (and built) post-war America in Hungary. Judy also shares how she approached designing The Institute—the architectural centerpiece of the film—and she reveals how they used the scale model they built in the actual shoot. We also discuss the differences between working on location and in a stage, and Judy shares the creative attraction to working on producer Ryan Murphy’s many television shows.

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This episode is sponsored by Aputure

SEASON 2 - EPISODE 135 - Simon Hayes - Production Sound Mixer

In this episode of the Team Deakins Podcast, we speak with production sound mixer Simon Hayes (WICKED, LES MISERABLES, SHAUN OF THE DEAD). At 14, Simon followed his father to set to learn sound. At 15, he then won the European BMX Championship. And at 16, he quit school, immersed himself in the industry, and honed his skills during the boom times of British commercials. Simon shares how early-career nights at Soho bars led to his professional relationships with directors Guy Ritchie and Matthew Vaughn, and we discuss the lessons he learned about protecting live performances on those early films. Simon  reveals how an idea from Meryl Streep changed the approach to recording the songs of MAMMA MIA!, and he later shares his own views on the effectiveness of boom mics and radio mics. Simon also reveals how they actually recorded the live vocals of LES MISERABLES without pre-recorded backing tracks, and he reflects on how his experiences in recording studios enabled him and his team to coordinate the complex musical numbers in WICKED with seasoned recording artists and leading actresses Cynthia Erivo and Ariana Grande. Plus, Simon reveals where he hid Elphaba’s radio mic.

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This episode is sponsored by Aputure

SEASON 2 - EPISODE 134 - Nathan Crowley - Production Designer

In this episode of the Team Deakins Podcast, we speak with production designer Nathan Crowley (WICKED, DUNKIRK, INTERSTELLAR). After growing up in England, Nathan’s dreams of selling secondhand sports cars in LA were cut short after a run in with set designer and fellow countryman Joe Hodges at a bar outside Paramount, and we learn how Nathan dove headfirst into the art department after assisting Joe on HOOK. Nathan later shares how he made the jump to heading the department himself, and we discuss his approach to production design throughout the episode. We uncover the reasoning behind the aesthetic choices of DUNKIRK, and Nathan shares how he accounted for the practicalities of filmmaking during a globetrotting location scout to help realize the vision of INTERSTELLAR. In the back half of the episode, we discuss Nathan’s recent work on WICKED, and he shares what attracted him to the film and what scared him about designing one of the most well-known worlds in the American imagination, and he reveals how Donna Langley, the head of the studio, helped convince production to plant millions of tulips for the film. Plus, Nathan shares a key lesson he learned while working with director Michael Mann about following his instincts.

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This episode is sponsored by Aputure

SEASON 2 - EPISODE 133 - Lisy Christl - Costume Designer

In this episode of the Team Deakins Podcast, we speak with costume designer Lisy Christl (CONCLAVE, ALL QUIET ON THE WESTERN FRONT, FUNNY GAMES). Originally from Bavaria, Lisy did just about everything she could do to avoid the film industry, and she shares several moments from her career when other filmmakers would not take her “no” as an answer. Lisy later reflects on her 10-year-long collaboration with director Michael Haneke, and she reveals the inspiration for the all-white outfits of the two men in FUNNY GAMES. We also discuss Lisy’s work on CONCLAVE, and she reveals what inspired her to adjust the typical garb worn by the cardinals. During our discussion of her work in TIME OF THE WOLF, Lisy shares the costuming decision she made to bring the audience to the present in a scene that recalled a scenario out of the Middle Ages, and she reveals the lengths she and her team went to design silent puffy jackets out of consideration for the sound department. We also discuss Lisy’s work in ALL QUIET ON THE WESTERN FRONT, and she describes how and why she empowered herself to make choices that may not have been exactly period appropriate.

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This episode is sponsored by Aputure