Team Deakins

EPISODE 81 - LARRY SHER - Cinematographer Team Deakins speaks with cinematographer Larry Sher (JOKER, GARDEN STATE, THE HANGOVER). We learn a lot about his many experiences with Todd Philips, including the movies The Hangover and The Joker. We talk about how color is an integral part of his work and how he loves location shooting with the mixtures of light, and how important it is, early on, to settle on what evening, dusk, and sunset mean light-wise. He shares his thoughts on operating, shooting with two cameras, working on big movies, and the differences in shooting film or digital. A lot gets covered! RECOMMENDED EPISODE VIEWING: The Hangover

EPISODE 80 - MARY ZOPHRES - Costume Designer Team Deakins sits down with Costume Designer, Mary Zophres (FIRST MAN, LA LA LAND, TRUE GRIT). She shares how she works with actors, large amounts of extras, the production designer, and the DP. She describes the thrill of seeing the actor become the character in the fitting room. Camera tests are important since “your eye tells you different things than the lens does” and she tells some of the things she has discovered through camera tests. She also describes dressing Jeff Bridges on The Big Lebowski, researching First Man and her experience on La La Land. We learn a lot about how the costumes can add so much to the storytelling.

EPISODE 79 - HARRY GRUYAERT - Still Photographer Team Deakins speaks with the acclaimed stills photographer Harry Gruyaert. What a great conversation! We learn that when he started, he directed and shot for Flemish TV and he explains why he changed his path and became a stills photographer. He shares the importance of intuition in his work and finding your own way of seeing and style. We love what he does with color so we speak a lot about color and how he uses it, and he speaks of when he would use B&W over color. He also goes into detail about his early work in Morocco and how he relates to the subjects of his photographs. He shares what he was thinking when shooting specific shots and tells a wonderful story about his photo with the Magritte painting. He’s an artist that works for his own pleasure without concerning himself about how people will react and we certainly love the results he achieves!

EPISODE 78 - CHRIS MILLER & PHIL LORD - Directors, Writers, Producers Team Deakins speaks with another long term collaborative team - Phil Lord and Chris Miller (CLOUDY WITH A CHANCE OF MEATBALLS, THE LEGO MOVIE, SPIDER-MAN: INTO THE SPIDER-VERSE). We cover a lot of topics, including the difference between directing live-action and animation, how they work together, the biggest disagreement they’ve had, and the challenges of directing comedies. We learn about the making of Cloudy with a Chance of Meatballs, The Last Man on Earth TV series, and the process on Spiderman - Into the Spider-Verse. We also learn their take on the possibilities in animation. A really interesting look at a very successful collaborative team! RECOMMENDED VIEWING: Last Man on Earth (TV), Cloudy with a Chance of Meatballs

EPISODE 77 - ED LACHMAN - Cinematographer Team Deakins has a great conversation with Cinematographer, Ed Lachman (CAROL, FAR FROM HEAVEN, DARK WATERS). We talk about many things, including his working with Robby Mueller and what he learned from him, his feeling on operating the camera, and finding your language with the director. He also shares his working process with director Todd Haynes, with whom he has collaborated many times. We go into depth on the movie “Far from Heaven” (one of his collaborations with Todd) from finding the look, the inspiration from Douglas Sirk films, and the use of colors. We also touch on the differences in using gels with film & with digital, his choice of lens, getting the look he wanted in “Dark Waters” and working with Paul Schrader. And much, much more! RECOMMENDED EPISODE VIEWING: Far From Heaven

Mike Leigh and Dick Pope, director and cinematographer respectively, join Team Deakins for a fascinating conversation. They talk about their collaboration, the importance of location, and their approach to working with actors. They also discuss their decision to not use storyboards for the film Peterloo and share insights into their unique filmmaking process.

Director, producer, showrunner John Wells discusses the role of showrunner in TV, script preparation, importance of cinematographers, impact of streaming on filmmaking. They explore writing villains, ensemble movies, and more on Team Deakins Podcast.

EPISODE 74 - ADAM ARKAPAW - Cinematographer Team Deakins catches up with cinematographer Adam Arkapaw (ANIMAL KINGDOM, ASSASSIN’S CREED, TRUE DETECTIVE). We learn a lot about the Australian film Animal Kingdom and how it was shot. Adam also tells us what he does during prep, how he works with a production designer and how he likes to give space to the actors. He also talked about something Andrew Lesnie once said to him and how it affected him. We also speak about how he chooses his projects, and his experiences on Macbeth, The King and True Detective. He shares his experiences in television and compared it to his film work. A fun episode with lots in it!

EPISODE 73 - ROB HARDY - Cinematographer Team Deakins sits down with English cinematographer, Rob Hardy for a great, in-depth conversation. We cover many subjects, including his work on BOY A with John Crowley, the experience of the movie, RED RIDING with Michael Winterbottom, and his frequent collaboration with Alex Garland on the films EX MACHINA andANNIHILATION. He also talks about working with a Steadicam, operating the camera, mixing light sources and his choice of lenses per project. We even get into his experience on MISSION IMPOSSIBLE. And we don’t forget to talk about the series DEVs.  It’s a special inside look at how he works and thinks. You don’t want to miss it! RECOMMENDED EPISODE VIEWING: Boy A, Devs, Ex Machina

EPISODE 72 - “BIGGLES” (JOHN HIGGINS) - Gaffer Team Deakins sits down with Biggles (John Higgins, if you want to be formal) an accomplished gaffer that Roger has a long past with.  Biggles talks about working with Ozzie Morris and different lighting styles. We get into a discussion about brute arcs, what they are and the difference in the light they produce. Roger and Biggles reminisce on their experiences together on 1984, MOUNTAINS OF THE MOON, WHITE MISCHIEF and 1917. Biggles also shares some experiences with Chivo (GRAVITY and Sven Nykvist and Richard Attenborough (CHAPLIN) and talks about how he works with DPs and the importance of trust. Of course, we talk about the big lighting rig on 1917 as well as the scenes lit only by the character’s torches (flashlights). We got into the subject of new technology in lighting and the importance of being realistic when choosing the lights to use for a project - if there are hostile conditions, far better to go with something dependable. A wide-reaching episode you won’t want to miss!