Team Deakins

EPISODE 141 - BRUNO DELBONNEL - Cinematographer Team Deakins has a great conversation with cinematographer, Bruno Delbonnel. He speaks about his experiences working with Jean-Pierre Jeunet and Marc Caro, on Amelie and Delicatessen, respectively. We learn about how he achieved the look on Amelie and how, in France, it was the first film to involve a DI, and how the digital workflow has changed. When he chooses a project, he is not looking for the challenges as much as discovering the director’s vision and figuring out how to implement that. He also shares his experiences with working director Tim Burton. We speak of how he prepares his lighting and the importance of determining what you really need on a shoot and hearing what it is that production needs. It’s not about compromise but about finding the right method. And, of course, we speak about The Darkest Hour and the look. Not an episode to miss!

EPISODE 140 - ALEXANDER NANAU - Director/Cinematographer Team Deakins has the pleasure of having an in-depth conversation with documentary director (who also shoots!), Alexander Nanau (TOTO AND HIS SISTERS, COLLECTIVE). We start with the importance of the documentary subject not being aware of the camera and Alex he goes about making his subjects comfortable. We also look at how the direction of the documentary can change during filming and how important it is to allow that to happen. He gives examples of this in Collective and Toto and his Sisters. Alex shares how he gave his characters cameras during the filming of Toto and his Sisters which allowed him access to special, intimate footage that would not have been possible with him in the room. He also speaks of how a project gets set up and his desire to direct fiction now. A great conversation with a talented filmmaker! RECOMMENDED EPISODE VIEWING: Toto and his Sisters, Collective

EPISODE 139 - TURNING THE TABLES - Sicario Team Deakins has the tables turned on them. Editor Tom Cross (Episode 129) asks the questions and we focus on the film SICARIO. Tom asks us about specific scenes, including the tunnel sequence, the Mexico sequences, and the opening sequence. We talk about the importance of the first shots in a movie and what the original first shot of Sicario was originally planned to be. We break down a sequence that was shot both on stage and location. We also touch on how we work with editors and the importance of our relationship with them. We spoke of the cutting in Sicario as well as the film First Man, which Tom cut. An interesting, in-depth conversation about filmmaking!

EPISODE 138 - DANIELLE FEINBERG -Pixar DP/VFX Supervisor Team Deakins speaks with Pixar lighting artist, Danielle Feinberg (WALL•E, COCO, RATATOUILLE). Danielle tells us about her time at Pixar, how computer animation is evolving and how each story demands different technical advances. She walks us through the process of making a film at Pixar, step by step. She also tells us how Pixar hires and what they look for in applicants as well as how the layout of the Pixar building is deliberate to promote communication. We learn that changes in the tools can alter the movie’s workflow. She speaks about working on Finding Nemo and her favorite creative moment in the jellyfish scene. We also get into the roles of camera operating and lighting in animation and the struggle to open up communication between the departments. Danielle really opens up the world of animation for us!

Team Deakins interviews director Joe Wright, known for films like Atonement and Darkest Hour. Wright shares his love for the craft of filmmaking, the importance of casting and rehearsals, and his collaboration with cinematographers. He discusses why he chose to direct The Darkest Hour and the value of working with the same crew and actors for comfort and vulnerability on set.

EPISODE 136 - JESS GONCHOR - Production Designer Team Deakins talks design with production designer, Jess Gonchor (THE DEVIL WEARS PRADA, NO COUNTRY FOR OLD MEN, TRUE GRIT, FOXCATCHER). He tells us how, early on, he learned the mistake of lighting the set and not the story which he’s never forgotten. We also talk about developing a color palette, what goes into his mood board, and using music references. He shares some of his experiences on The Siege, Capote, No Country for Old Men, Hail Caesar, as well as Lone Ranger and A Serious Man. We also learn how he approaches pitching his ideas to a director who has already lived with another idea for a long time. This episode is a really interesting look into the craft of production design!

EPISODE 135 - DARIUS KHONDJI - Cinematographer Team Deakins talks with cinematographer Darius Khondji (UNCUT GEMS, ALIEN RESURRECTION, SE7EN). We talk a lot about light, specifically learning how to light and how he started to learn with natural light. He shares the experience of working with David Fincher on the film Se7en and how their collaboration allowed him to take risks. He speaks about how important it is to get to understand the director and how he sees visual style as a house that you have to find the key to unlocking and that he usually finds this key through the character. Darius tells us about working on the movies Lost City of Z, Uncut Gems, My Blueberry Nights, and Amour. He also shares his thoughts on working in features and television. A wonderful glimpse into the eye of a great cinematographer!

EPISODE 134 - RICH KLUBECK - Partner and Literary Agent UTA Teams Deakins has an in-depth conversation with Rich Klubeck of UTA. We cover a lot of ground on the subject of filmmaking - from the difference of putting together an independent vs studio film when a project needs to be cast and the considerations in casting. He defines and explains the principles of packaging a project and conveys how putting together a film is an art form. We talk about how to budget and Rich gives us a step-by-step guide to getting financing and what he thinks about when looking for funding. We ask about the role of film festivals and the future of movie distribution. We learn what he does when a new script from an unknown director comes across his desk and much, much more! An incredible guide to getting a movie off the ground!

EPISODE 133 - DOMHNALL GLEESON - Actor Team Deakins has a great time speaking with actor, Domhnall Gleeson (STAR WARS, NEVER LET ME GO, THE REVENANT). He tells us how his father being an actor (Brandon Gleeson) showed him it was a career that could be done, with hard work. He shares that a well-run set is his favorite place to be and the feeling of loss when a film doesn’t land. We talk about his experience of working with the Coen Brothers in the film, True Grit as well as working on the film, Ex Machina, and with Alicia Vikander. We reminisce about the experience of working together on the film, Unbroken, including his having to starve for the start of the movie. He also shares what he has learned, like not having to be in pain to get a good performance and relating with the crew as an actor. And lots, lots more! You won’t want to miss this episode!

EPISODE 132 - CARROLL BALLARD - Director Team Deakins has the pleasure of speaking with director Carroll Ballard (WIND, THE BLACK STALLION, NEVER CRY WOLF, DUMA). We learn how he got involved in the project that became the film, Black Stallion, how he worked with cinematographer, Caleb Deschanel. We also discuss the particular challenges of that film. Carroll talks about the difficulties of working with animals and children as well as working with wolves and caribous in Never Cry Wolf, geese in Fly Away Home, and cheetahs in Duma. We also learn about how he met the extreme challenges of shooting the film Wind. We learned a lot in this episode!