Team Deakins

David Mullen, acclaimed cinematographer known for his work on The Marvelous Mrs. Maisel and States of Tara, dives deep into the artistry behind 'True Grit'. He discusses the challenges of filming a river scene using innovative techniques and the unique visual storytelling of westerns. Mullen shares insights on lighting, particularly when working with child actors, and reflects on the impact of aspect ratios in the genre. The conversation is filled with anecdotes and thoughts on creative flexibility, film stocks, and the memorable dialogue that brought the script to life.

Matthew Specktor, an author celebrated for his memoir, THE GOLDEN HOUR, dives deep into the world of Hollywood, shaped by his father, a legendary talent agent. He shares candid reflections on the cinematic shifts from creative storytelling to profit-driven blockbusters. Matthew explores the allure and grit of the film industry, revealing personal anecdotes that uncover the struggles behind the glamour. He also contrasts the evolving narrative forms in film and television, highlighting the impact of streaming on storytelling.

Cinematographer Steve Yedlin, renowned for his work on films like Looper and Knives Out, dives into the intricacies of deliverables and preserving authorial intent in post-production. He highlights the challenges filmmakers face in maintaining their artistic vision amidst evolving technologies and color spaces. Steve also sheds light on the differences between SDR and HDR imaging, emphasizing the importance of calibration for optimal visual experiences. Plus, he shares insights on the economic realities of film restoration and offers valuable advice for filmmakers navigating the technical jargon.

Philip Barantini, a director known for his work on 'Boiling Point' and 'Adolescence', shares his inspiring journey from acting to directing. He discusses the challenges of filming a one-take movie during the COVID-19 pandemic and the meticulous planning required for such a project. Barantini reflects on his passion for storytelling, the importance of improvisation in empowering actors, and how young talent like Owen Cooper exceeded expectations. He also highlights the influence of renowned filmmakers and the delicate balance between structure and creativity in filmmaking.

Phil Alden Robinson, acclaimed writer and director known for classics like Field of Dreams, shares his journey from journalism to filmmaking. He discusses the chaotic yet collaborative nature of film sets and the emotional toll of directing. Robinson reflects on the balance of artistic vision within the industry's pressures and delves into his experiences directing documentaries in war zones. He also examines the evolution of storytelling, stressing character development over flashy visual effects, making insightful observations for aspiring filmmakers.

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. - Recommended Viewing: TAKE SHELTER - 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. - Recommended Viewing: DUNE (2021), DUNE: PART II (2024) - This episode is sponsored by Aputure & Profoto

Jon Alexander is a talented compositing supervisor and visual effects artist known for his work on blockbuster films like DEADPOOL and AVENGERS: AGE OF ULTRON. He shares fascinating stories from his career at Industrial Light & Magic, highlighting the evolution of visual effects from optical techniques to modern CGI. Jon discusses groundbreaking advancements he witnessed, like those during HOWARD THE DUCK, and explores the impact of AI and LED technology in filmmaking. His insights provide a unique look into the artistic and technical challenges of visual storytelling.

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! - 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. - This episode is sponsored by Aputure