Team Deakins

EPISODE 111 - PAUL SAROSSY - Cinematographer 
Team Deakins speaks with Paul Sarossy, a frequent collaborator with director Atom Egoyan, in this episode. Paul’s credits include THE SWEET HEREAFTER, REMEMBER, and AFFLICTION. We learn how Paul started by shooting news and what skills that gave him right off the bat. Of course, we speak about his collaboration with Atom Egoyan and learn how they work together. We break down a lot in the film, The Sweet Hereafter, and learn a lot! He shares that he thinks prep normally revolves around figuring out one thing and the rest “you just deal with”. We also touch on his working on two movies based on Russell Banks movies in a row, operating the camera, working with a non-linear time structure, digital technology as being subtractive vs additive, and the difference of working in TV and on features. And much, much more! A great conversation!

EPISODE 110 - KAZU HIRO - Prosthetic Makeup Team Deakins speaks with the very talented prosthetic makeup and effects designer, Kazu Hiro (BOMBSHELL, DARKEST HOUR, THE CURIOUS CASE OF BENJAMIN BUTTON). We learn a lot in this episode. Kazu leads us through the process of prosthetic makeup and very patiently answers our many questions. He shares with us his work on the films Bombshell, Darkest Hour, and Benjamin Button. He also tells us about his experience of working with Akira Kurosawa! We now know about face casting, applying makeup on top of prosthetics, and the testing that is done before shooting. A great conversation with a great artist!

EPISODE 109 - TURNING THE TABLES - 1917 Team Deakins gets the tables turned on us led by esteemed still photographers, Alex Webb (Episode 30) and Rebecca Norris Webb. They ask us questions about the film 1917. We talk about the one-shot concept and how we worked to not make it a gimmick. We examine the choice of camera and lens and we compare this choice in still work and motion picture. We talk about collaboration, the last shot of 1917 and the trees that bookends the movie. We also speak of the impossibility to explain the power of a photo. We even got into a little discussion of the lighting of the film Chinatown! It’s a fun episode you won’t want to miss! RECOMMENDED EPISODE VIEWING: 1917

EPISODE 108 - PETER DEMING - Cinematographer Team Deakins has the pleasure of talking with cinematographer Peter Deming (LOST HIGHWAY, MULHOLLAND DRIVE, SCREAM 2). A frequent collaborator with director David Lynch, Peter shares how he started working with David and their very particular style of working together. We learn a lot about the shooting of the film Mulholland Drive and really love having the chance to ask all our questions. He also explains what “lens whacking” is and when you might use it. Peter tells us how he works differently when shooting film or digital and talks about shooting dark scenes. We cover a lot in this episode so don’t miss it!

EPISODE 107 - PAUL LAMBERT - VFX Supervisor Team Deakins has a great conversation with Paul Lambert, VFX Supervisor (DUNE, FIRST MAN, BLADE RUNNER 2049). He walks us through the world of VFX and reveals the complexities. We talk about the VFX on Blade Runner 2049 and how some of them were achieved. He shares how he figured out the transparency of the character Joi. He also talks about his work on the film, First Man and tells us how a lot was accomplished. We talk about what makes a VFX shot work and what makes it fail. We also touch on the importance of continuity of lighting between the elements of the shot, the importance of the placement of the focus and the difficulty of scheduling the amount of time needed to create the shots. A fascinating look into the world of VFX!

EPISODE 106 - CARTER BURWELL - Composer Team Deakins speaks with composer Carter Burwell in this episode. Carter is known for his work on NO COUNTRY FOR OLD MEN, CAROL, and WONDERSTRUCK. We talk in-depth about the experience of working with the Coen Brothers which is where he started his career in composing for film. Working with the Coens is a good challenge because they don’t repeat themselves so it’s new territory every time. He also shares about working with Sidney Lumet on Before the Devil Knows You’re Dead which was a unique experience. We learn how the composer can be asked to help save a scene that isn’t working with the score and how you can do that. We learn a lot about the craft of composing in this episode!

EPISODE 105 - CHRIS MENGES - Cinematographer Teams Deakins speaks with the talented cinematographer, Chris Menges (MICHAEL COLLINS, THE KILLING FIELDS, KES). We talk at length about his start in documentaries and what you learn from shooting documentaries - learning to force the image, working in impossible situations, looking and noticing light and making sure you get the shot. He also shares his experiences of working with director Ken Loach and the rules that they set as well as working on The Empire Strikes Back, The Killing Fields, and Waiting for the Barbarians. Chris talks about directing “A World Apart”, the difficult transition back to DP work after directing and covers the subject of adapting books to screen and why it doesn’t always work. A fascinating conversation with a visual master!

EPISODE 104 - TONY JANNELLI - Head of Graduate Cinematography Studies at NYU Team Deakins speaks with cinematographer Tony Jannelli who is the head of the graduate cinematography department at NYU. He walks us through the structure of NYU film school and how the filmmaking is taught. He speaks of how important it is for a young filmmaker to find their own taste and intuition and how NYU works to develop this in their students. After speaking with him, it was clear why so many great filmmakers come out of NYU!

EPISODE 103 - SANDY POWELL - Costume Designer Team Deakins talks with the celebrated costume designer, Sandy Powell (THE FAVOURITE, VELVET GOLDMINE, SHAKESPEARE IN LOVE). We delve into many things, such as how a costume designer helps the actor find his/her character, being mindful of the silhouette and shape of a design, and working with a director multiple times. She shares how she chooses her projects, how she works with color and approaches designing instinctively. She tells us about her different experiences with the director Todd Haynes and what the projects entailed. We also cover finding clothes versus making them, working with actors, doing a period project and how strict you are, and how to get past a block. And much more!

EPISODE 102 - DYLAN GOSS - Aerial Cameraman Team Deakins talks with aerial cameraman, Dylan Goss (DUNE, BLADE RUNNER 2049, SICARIO). We have the opportunity to look closely at this very specialized area. We look at the technical aspects and how they have changed. And we talk about when he is brought in, how he figures out what is needed, and the importance of his understanding of the script. We discuss the work he did with us on the films Sicario and Blade Runner 2049, including the array rig we had to develop to meet the needs of VFX in Blade Runner 2049. He also shares his experiences on the TV show Devs and we talk about the differences between drone work and helicopter work. It’s a great look at the complex world of aerial photography!