SEASON 2 - EPISODE 145 - Deliverables and Preserving Authorial Intent - with Steve Yedlin

In this episode of the Team Deakins Podcast, cinematographer Steve Yedlin (Season 2, Episode 72) returns to talk with us about deliverables and preserving authorial intent in post-production. Throughout the episode, we tap into Steve’s deep well of technical knowledge, and we make frequent reference to Steve’s publicly available demonstration on what HDR really is and how it has affected the colour timing stage of post. We get into the weeds during our conversation, and we try to make sense of the growing number of variables, units of measurement, and home-video viewing options we’re forced to contend with as filmmakers in the digital age. We also look at how our level of control over home-viewing deliverables has changed since the VHS days, and we attempt to peek into what the future may hold for us as technology and audience expectations continue to evolve. Towards the end of our conversation, we discuss the economic realities of restoring old films, and Steve offers his best advice to any young (or older!) filmmaker feeling overwhelmed by the endless technical jargon. Plus, we find some surprising and relevant wisdom within THIS IS SPINAL TAP.

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We highly recommend watching Steve’s demonstration on HDR for an even deeper investigation into the topics discussed in this episode. Tap here to watch.

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This episode is sponsored by Aputure & Profoto

SEASON 2 - EPISODE 144 - Philip Barantini - Director

In this episode of the Team Deakins Podcast, we speak with director Philip Barantini (ADOLESCENCE, BOILING POINT, ACCUSED). Originally from Liverpool, Philip couldn’t have felt further away from the film industry, but after developing an interest in drama and acting, he soon found himself as a working actor. After dropping out of the business and regaining his sobriety, he eventually overcame his self-doubt and built his career as a director from the ground up. Philip shares how he made the jump from making shorts to developing the television series BOILING POINT, and we learn how he found financing for the project and executed the single-shot aesthetic just as the world was shutting down at the beginning of the COVID-19 pandemic. We later learn about the genesis and development of ADOLESCENCE, and Philip reflects on the extensive rehearsal process for each episode. Philip also reveals how he created an environment within each episode that empowered the show’s actors to improvise, and he shares how young actor Owen Cooper exceeded all expectations for his first role in front of the camera.

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Recommended Viewing: ADOLESCENCE 

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This episode is sponsored by Profoto & Aputure

SEASON 2 - EPISODE 143 - Phil Alden Robinson - Writer / Director

In this episode of the Team Deakins Podcast, we speak with writer and director Phil Alden Robinson (THE GOOD FIGHT, THE SUM OF ALL FEARS, FIELD OF DREAMS) about many of his films. Phil was initially interested in politics and journalism, but he eventually made his way to Los Angeles and found his way into a writer’s room based on the strength of a spec script. Phil soon found two of his feature scripts in production, and he reflects on the impact of being treated as badly as possible and as well as possible simultaneously. Later, Phil breaks down how FIELD OF DREAMS came together as a project, and we learn how he overcame an overwhelming sense of stress through the support of his cast and key crew members, including cinematographer John Lindley (Season 1, Episode 34) and production designer Dennis Gassner (Season 1, Episode 131). In addition to his work in features, Phil also directed documentaries for Nightline in a number of war zones, and we discuss the value of living life and taking time off from making movies. We also discuss the ubiquitousness of VFX in cinema today, and Phil shares what he feels to be the real lesson to take away from a film like the original STAR WARS.

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Recommended Viewing: FIELD OF DREAMS, THE SUM OF ALL FEARS

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This episode is sponsored by Aputure & Profoto

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