The Cinematography Podcast

Mandy Walker believes that her job as a cinematographer is not just to make pretty pictures, but to enhance an emotion with lenses, camera placement and lighting. She works on a gut and emotional level for films, getting across the feelings of the characters- a DP's arsenal of tricks should only help convey what's going on in the scene. For Mulan, Mandy and director Nikki Caro wanted to take a different approach from the Disney animated version, and were free to interpret the film as they wished. Mandy watched several Chinese action films such as House of Flying Daggers and went on location scouting trips to China to find the look and inspiration for the film. Mandy grew up in Australia and always loved photography, film and art, so she felt a passion to become a cinematographer right from the beginning. She skipped film school and began as a production assistant and loader in Australia, learning as she went on films such as Lantana, which was shot using almost only available light. Shattered Glass, which tells the true story of a journalist who made up the majority of his articles, was her first American film. Working with Baz Luhrmann on Australia was a huge jump into bigger budget movies, and she learned how to organize and delegate an entire camera department with multiple cameras. For the film Hidden Figures, Mandy worked closely with the costume designer and makeup artists to ensure that how the characters were dressed and what they looked like matched the feel of what each scene is meant to convey. She watched a lot of archival footage from NASA, some of which was used in the film, and was thrilled to meet Katherine Johnson, one of the real-life subjects of the film.

Mandy Walker is currently working with director Baz Luhrmann again on a forthcoming biography film about Elvis Presley.

See Mulan on Disney Plus

Find Mandy Walker: https://www.mandywalkerdp.com/

Instagram: @mandywalkerdp

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep90/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

WIN a Sony A7SIII, Gitzo tripod and $100 Hot Rod Cameras gift card! Worth over $4,000, for one lucky winner! Follow us on Instagram @thecinepod and click on the link in bio to enter by September 29, 2020.

Website: www.camnoir.com

Facebook: @cinepod

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Jas Shelton's career has spanned nearly every genre, from comedy to horror and suspense. Jas grew up in East Texas and attended the University of Texas in Austin. He had difficulty getting into the film program, so he started shooting music videos for bands, then began shooting student films. Austin was a hub for fairly large films at the time, where Jas found work as a gaffer or on second unit, including Miss Congeniality, Varsity Blues, and The Ladykillers. When he and director Kyle Alvarez began planning for the second season of Homecoming on Amazon, they chose to use a different color palette from season one, with darker, moodier looks for the flashback sequences vs. the present day. They were influenced by the look of 70's movies and Brian DePalma films, with slow push-in zooms on the characters, several split-screen sequences and off-center framing. Jas shot all seven episodes of the series, and has received an Emmy nomination for his work. Jas had also worked with Kyle Alvarez on The Stanford Prison Experiment, which was another challenging project since most of it was shot on a white laboratory set, but careful use of close-ups and shadow helped bring more depth to the film. Jas's tight camerawork and careful planning for Homecoming was a much different approach from Jas's previous work with the Duplass brothers on the series Togetherness, The Do-Deca-Pentathalon and Cyrus. Mark and Jay Duplass favor a rough, homemade, documentary style, with lots of improvisation, so scenes often began with close ups on long lenses, with wider shots at the end. For the film Keanu, Jas's experience with more improvisational filmmaking was useful, since Jordan Peele would often rewrite scenes right before shooting.

See Homecoming season 2 on Amazon Prime

Find Jas Shelton: https://www.jasshelton.com/

Instagram: @jasshelton

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep89/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com

Facebook: @cinepod

Instagram: @thecinepod

Twitter: @ShortEndz

Paul Cameron, ASC got his start guerilla-shooting live music with borrowed equipment from film school. Starting off in the budding world of music videos and fast-paced commercials creatively prepared Paul for the action/thriller genre. Paul met cinematographer-turned-director Dominic Sena, who gave him the opportunity to shoot Paul's first feature, Gone in 60 Seconds. They were able to collaborate and communicate with a shared visual language. Later, Paul's work on the film Man on Fire with director Tony Scott allowed him to really hone his look. Though he prefers to use film cameras, Paul had the opportunity to shoot Michael Mann's Collateral with digital cameras, one of the first major films to use the technology. Jonathan Nolan, the director and producer of the HBO series, Westworld, asked Paul to shoot the pilot before there was even a script. They quickly decided to shoot on 35 mm to capture the grand scale of the western landscape. For season three of Westworld, Paul was the director of photography for the first episode, and has earned an Emmy nomination for his work. He also had the opportunity to direct episode four of the series for the very first time and really enjoyed it. Westworld will return for Season 4.

Find Paul Cameron: https://paulcamerondp.com/

Instagram: @paulcameron_dp

See Westworld on HBO: https://www.youtube.com/watch?v=yvGE7Cz9VDA

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep88/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com

Facebook: @cinepod

Instagram: @thecinepod

Twitter: @ShortEndz

Cinematographer and director Brandon Trost enjoys exploring different genres and styles of filmmaking, trying different things that push him outside of his comfort zone. Brandon grew up around film- he is the fourth generation of his family working in the movie industry. He attended LA Film School and soon began working as a cinematographer. One of Brandon's early films, the action movie Crank: High Voltage, was shot much like a skateboarding video, with several small cameras strategically placed to capture the frenetic pace so that it would feel electric. Brandon loved working with director Rob Zombie on Halloween II, which was shot on 16 mm film for a very grainy and gritty look. Shooting the comedy film MacGruber was Brandon's first experience working in the humor genre. He and director Jorma Taccone wanted it to look like Die Hard, taking all the action movie tropes to an extreme, which is what made it funny rather than choosing to shoot it like a conventional comedy movie. MacGruber helped launch Brandon's career into shooting comedy movies This is the End, The Interview, Popstar: Never Stop Never Stopping, Neighbors and The Disaster Artist with Seth Rogan, Andy Sandberg, and James Franco. When shooting with comedians, Brandon found it's important to be prepared for improvisation and to light the space so there's flexibility for the actors to move within it, keeping shots fairly wide. For the films Diary of a Teenage Girl and Can You Ever Forgive Me? Brandon had the opportunity to switch gears again, working with director Marielle Heller. They chose a camera and lenses for Can You Ever Forgive Me? that gave the film a real, naturalistic, even unflattering look to Melissa McCarthy's character. Brandon got to explore dark comedy again in the pilot for the HBO series, Barry. Creators Bill Hader and Alec Berg wanted the violence to feel very real, dark and yet funny, so Brandon chose to treat the pilot like a Coen brothers movie, using moody lighting and shooting with a single camera. An American Pickle is Brandon's first time directing a large feature film. Frequent collaborators Seth Rogan and Evan Goldberg asked Brandon to take a look at the script with an eye to directing, and the story appealed to him. Directing An American Pickle was challenging since Seth Rogan plays both main characters. Much of the film had to be shot twice- once with Seth Rogan as the character Herschel and then as the character Ben. Brandon found that choosing a director of photography when you're also a cinematographer can be difficult, and he chose DP John Guleserian (Like Crazy, About Time, Love, Simon, the upcoming Candyman) to shoot the movie because he has a great sense of humor and is very collaborative.

Find Brandon Trost: https://www.brandontrost.com/

Twitter: @b_tro

See An American Pickle on HBO Max

Our interview with DP John Guleserian will be coming in October.

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep87/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com

Facebook: @cinepod

Instagram: @thecinepod

Twitter: @ShortEndz

Oscar-winning director Ron Howard talks about directing his first documentary, Rebuilding Paradise, about the devastating Camp fire that completely wiped out the town of Paradise, California on November 8, 2018. The film follows the people in community over time as they deal with the tragedy and begin rebuilding. Directing a documentary was a new experience for Ron, and he felt a personal connection to the town- his mother-in-law had lived in Paradise. Ron Howard and Brian Grazer's production company, Imagine, had wanted to start producing documentaries and they sent out a crew to begin shooting just one week after the fire. Ron picked up some new skills while working on the unscripted project. He had to learn how to let the cameras follow the flow of the conversation, and to be minimalist in covering every possible angle. The experience has led him to make directorial choices in his scripted work that are more verité. Director of photography Lincoln Else worked closely with Ron and the Imagine production team, and developed a unified visual language for Rebuilding Paradise that he communicated with the other shooters. Lincoln learned documentary filmmaking at an early age, loading 16mm mags and assisting his father, documentarian and professor Jon Else. He likes a very simple hand-held style, opting to just put a camera on his shoulder in order to be as reactive as possible. Though footage from many different news sources and people's personal videos was used, the bulk of the interview content in Rebuilding Paradise was “fly on the wall” style.

See Rebuilding Paradise online and support your local theater! https://films.nationalgeographic.com/rebuilding-paradise#screenings

Find Ron Howard: https://imagine-entertainment.com/

Instagram @realronhoward

Twitter: @realronhoward

Find Lincoln Else: http://www.novusselect.com/

https://lincolnelse.com/

Instagram: @lincolnelse

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep86/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com

Facebook: @cinepod

Instagram: @thecinepod

Twitter: @ShortEndz

The Cinematography Podcast Episode 85: Greig Fraser

World-renowned director of photography Greig Fraser grew up in Australia, working as a still photographer before he moved into cinematography, shooting shorts, TV shows and films for several Australian directors. Greig's most recently completed project is The Mandalorian, which recently earned him an Emmy nomination. At first, Greig felt incredibly nervous about working on the frontline development for The Mandalorian because of the massive amount of technology involved. His usual approach as a DP has been naturalistic lighting, in a real setting, rather than an entirely manufactured environment on a soundstage. The Mandalorian brought together gaming technology and set design, which could only be done with the support of ILM and Lucasfilm. The Star Wars series used 3D digital environments built with Epic Games' Unreal Engine gaming technology that was capable of interacting with the cameras and was projected on huge LED screens for very realistic backgrounds on the soundstage. Greig was not a Star Wars newbie- prior to The Mandalorian, he was the cinematographer of Rogue One: A Star Wars Story. As a fan of Star Wars, Greig felt some trepidation at first about shooting Rogue One, because he was worried about losing that passion in the day-to-day while on set. Greig met with Rogue One director Gareth Edwards and loved his early film Monsters, so he was convinced to take the job. Grieg also discusses his work on the 2016 film, Lion, for which he received an Oscar nomination for Best Cinematography. Greig was extremely excited to shoot Lion- he and fellow Australian director Garth Davis had worked together a number of times. As a photographer, Greig had traveled and shot in India, and he loved being able to return to India and Melbourne to shoot such a great story. For Lion, Greig and Garth Davis wanted to be very respectful of Indian culture, and be careful of their choices not to oversensationalize images of poverty. Greig shot many of the railway scenes in the film at the level of a small child to capture the character Saroo's feelings of loss and helplessness.

Grieg Fraser is the cinematographer of two hugely anticipated films coming soon: Dune with director Denis Villeneuve and The Batman, directed by Matt Reeves.

Find Greig Fraser: Instagram @greigfraser_dp

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep85/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com

Facebook: @cinepod

Instagram: @thecinepod

Twitter: @ShortEndz

Special: The Cinematography Podcast- War Stories Vol. 3

In this super-sized War Stories Special, we feature eleven of our guest's harrowing, hilarious or heartwarming stories of an experience they had while on set or when starting out in the film industry. Find full interviews with each of our featured cinematographers in our archives at www.camnoir.com or wherever you get your podcasts.

Cinematographer Laura Merians Gonçalves tells of a scary experience while shooting Pacified in the gritty favelas of Brazil, Seamus McGarvey on his first time using a Super 8 movie camera in film school, Charles Papert talks about working with Eddie Izzard on a grueling TV pilot, Charlotte Bruus Christensen's story of shooting The Hunt with director Thomas Vinterberg almost entirely handheld while pregnant, Mike Dallatorre on dealing with the Mexican federales while working on Quantum of Solace, James Laxton's early experience as a loader for an Errol Morris-directed commercial, Jaron Presant tells a funny story about making a huge error as a set PA, Don Morgan on getting hired because of a mistaken film credit, Roman Vas'yanov tells about his entirely too-real experience while shooting in the hood for End of Watch, Benoît Delhomme talks about crew issues while shooting The Proposition in the Australian outback, and documentary filmmaker Thorsten Thielow's experience of shooting during an actual war.

Do you have a War Story you'd like to share? Send us an email or reach out to us on Facebook, Twitter, or Instagram!

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/warstories3/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com

Facebook: @cinepod

Instagram: @thecinepod

Twitter: @ShortEndz

The Cinematography Podcast Episode 84: Alex Winter

Many people know Alex Winter as the iconic character Bill S. Preston, Esq. from the hit Bill & Ted's Excellent Adventure and its sequels, but over the past few decades, Alex has become a prolific director of several TV, film and documentary projects. Alex was a child actor, with roles on Broadway, film and television, shooting his own projects on a wind-up 16 mm Bolex camera in his spare time. As a young actor, he followed cinematographer Michael Chapman (Jaws, Raging Bull, Taxi Driver) around on the set of The Lost Boys whenever he had downtime. After graduating from NYU film school, Alex and creative partners Tom Stern and Tim Burns created The Idiot Box, a sketch comedy show for MTV. They had creative control but not much money, so Alex, Stern and Burns moved on, making their own comedic film, Freaked, which has become a cult favorite. Alex went on to shoot and direct several music videos for bands like The Red Hot Chili Peppers and Helmet. For his most recent documentary film, Showbiz Kids, Alex found his personal experience and sensitivity as a fellow child actor immensely helpful for interviewing his subjects. The film profiles actors Evan Rachel Wood, Wil Wheaton, Henry Thomas, Mara Wilson, Todd Bridges, Milla Jovovich, Jada Pinkett Smith, the late Cameron Boyce and Diana Serra Cary (“Baby Peggy”) who tell their own stories and Hollywood experiences, bad and good, of growing up as child actors. The doc also follows two aspiring child stars as they try to break into the business or further their careers. For his upcoming documentary Zappa, Alex wanted to tell the definitive story of Frank Zappa's life and work. With the cooperation of the Zappa family, he had unprecedented access to Frank Zappa's home movies and recordings. Alex will also be seen acting once again as Bill with buddy Keanu Reeves in Bill & Ted Face The Music, as soon as a release date is set.

Find Alex Winter: http://alexwinter.com/

Instagram: @alxwinter

Twitter: @Winter

See Showbiz Kids on HBO: https://www.hbo.com/documentaries/showbiz-kids

Zappa, coming soon: http://www.zappamovie.com/about

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep84/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com

Facebook: @cinepod

Instagram: @thecinepod

Twitter: @ShortEndz

The Cinematography Podcast Episode 83: Jody Lee Lipes

Cinematographer Jody Lee Lipes has always enjoyed working on diverse projects with intimate stories. Shortly after film school, Jody collaborated with actor/director Lena Dunham on her first film, "Tiny Furniture," which led to Jody's shooting the HBO series, "Girls." He also shot the acclaimed indie thriller, "Martha Marcy May Marlene," directed by Sean Durkin, about a woman who escapes a cult and grows increasingly paranoid. Larger projects soon followed, including Academy Award nominated films, "Manchester by the Sea" and "A Beautiful Day in the Neighborhood" with director Marielle Heller. When Heller asked Jody to be the director of photography for her film about a journalist writing a profile piece on Mr. Rogers, he was extremely moved by the script and it gave him a renewed passion for his craft. Jody's most recent project, the HBO series, "I Know This Much is True," is the story of Dominick, who is struggling with caring for his mentally ill twin brother, Thomas. Mark Ruffalo plays both twins, one of whom is much heavier than the other. Jody had to first shoot the “A” side of Dominick, then the B side of his brother Thomas several weeks later after Mark Ruffalo had gained weight. Director Derek Cianfrance decided he did not want to rely very much on special effects, and they discovered that often, a single two-shot of the “twins” would sell the idea that there were two people in the room. Shooting "I Know This Much is True" proved challenging in other ways as well. It was shot on film, with extreme closeups on long lenses, and controlling the light was key so that it would match each shot.

Find Jody Lee Lipes: https://www.jodyleelipes.com/

Instagram: @jody_lee_lipes

See I Know This Much is True currently on HBO:https://www.hbo.com/i-know-this-much-is-true

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep83/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com

Facebook: @cinepod

Instagram: @thecinepod

Twitter: @ShortEndz

The Cinematography Podcast Episode 82: John Brawley

John Brawley began his career shooting television series in his native Australia, coming to the U.S. to shoot the USA series, Queen of the South. John approaches each project with a “visual manifesto,” or a set of rules for yourself and the crew to follow with the camera, lenses, lighting, and color story defining what you're doing. John's recent project, The Great, stars Elle Fanning as Catherine The Great and Nicholas Hoult as Peter, the (not great) king of Russia. John worked closely with series creator Tony McNamara, a fellow Aussie who also received an Oscar nod for writing The Favourite. While shooting, John, Tony and the production designer determined that all the light sources be consistently candlelight, daylight, or firelight. Since it was Catherine's story, she was always in the center of the frame and her close-ups were always just a little closer. The UK is the home of period drama, but Tony McNamara wanted The Great to be “punk history” or satire, taking liberties with the Catherine The Great story, both in costuming and language. He and John also resisted the urge to do period cliché visuals- for example, they did not use any “sweeping” crane shots and avoided using excess smoke for atmosphere. The Great was just renewed for a second season.

Find John Brawley: http://johnbrawley.com/

See some tech tests from John's projects: https://johnbrawley.wordpress.com/

Instagram: @johnbrawley

See The Great on Hulu: https://www.hulu.com/welcome

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep82/

Sponsored by Hot Rod Cameras www.hotrodcameras.com

Website: www.camnoir.com

Facebook: @cinepod

Instagram: @thecinepod

Twitter: @ShortEndz