Team Deakins

EPISODE 42 - KK BARRETT - Production Designer Team Deakins sits down with production designer KK Barnett (HER, BEING JOHN MALKOVICH, MARIE ANTOINETTE). It’s a great opportunity to delve into the job of the production designer and all it entails. We go into depth about how he works with the DP and the Director. He illustrates his process by talking specifically about scenes in Being John Malkovich, Where the Wild Things Are, and Adaptation. We talk about the difference in designing from an original script or a script based on a book. He shares his process of breaking down a script and offers advice to those starting out. We even talk about the proverbial “Telephone Box” set. An episode with a lot of information about production design! RECOMMENDED EPISODE VIEWING: Being John Malkovich, Marie Antoinette

EPISODE 41 - PAUL DANO & ZOE KAZAN -Actors, writers & director Team Deakins has the pleasure of speaking with another couple in the film business. Both are actors and writers and Paul has also directed. We talk a lot about the experience of being an actor and they articulately discuss the difference between acting for the stage and for film. We talk about the experience of being a couple in the same business and working together. Zoe shares how her writing allows her acting to be more personal and how hard it is to write a project and then let it go once it is picked up to be made. We had the opportunity to ask Paul many questions on his wonderful debut film as a director, “WILDLIFE”. We also touched on actors and their awareness of the camera, actors and continuity, their pet peeves about actors and how they choose their projects. Zoe speaks about working with the Coen Brothers and Paul speaks about working with Denis Villeneuve. We cover a lot of ground in this episode! RECOMMENDED EPISODE VIEWING: Wildlife, The Ballad of Buster Scruggs

EPISODE 40 - SONA PAK & GUILLAUME ROCHERON - VFX Producer & Supervisor Team Deakins dives into the world of VFX. We speak with a VFX Producer, Sona Pak (1917, THE TWO POPES, ALIEN: COVENANT) and a VFX Supervisor, Guillaume Rocheron (1917, AD ASTRA, LIFE OF PI). So the first question we get to settle is who does what. We also look into things like, the advantages and disadvantages of working with multiple vendors, how to keep a continuity of look when so many people are working on a shot, face replacement in shots, how what is a VFX shot and what isn’t is decided, the importance of knowing the different strengths of the various VFX houses and how the post schedule can contract. And that’s just a few of the points we touch on. It’s a large subject and it was great to speak with two such talented people!

EPISODE 39 - HOYTE VAN HOYTEMA - Cinematographer Team Deakins has a fascinating conversation with celebrated cinematographer Hoyte van Hoytema (DUNKIRK, LET THE RIGHT ONE IN, TINKER TAILOR SOLDIER SPY, HER, INTERSTELLAR). He shares his experience of working with directors, Christopher Nolan and David O Russell. He talks about the value of shooting as much as possible in camera and how he approaches lenses, often creating a set specifically for a movie. We learn about how working with Christopher Nolan the second time on Dunkirk was different and he goes into detail on shooting in IMAX, talking about the pros and cons. He also shares his opinions on working with a large budget and a small budget. And there’s plenty more. You don’t want to miss this! RECOMMENDED EPISODE VIEWING: Dunkirk, Ad Astra, Interstellar

EPISODE 38 - JEB BRODY - Pres of Production, Amblin Studios Team Deakins sits down with Jeb Brody, the president of production at Amblin Studios and learn a lot about the studio side of production. Jeb walks us through so much - the difference between a studio exec and a producer, the relationship between the filmmakers and the studios, the differences between the studios and the movies they make. We discuss what kind of films are getting made these days, look at the difference of negative pickup and acquisition, and why the bad behaviors of filmmakers in the ’70s no longer works. We worked with Jeb on 1917 and get into that as well. And we learn from the studio’s point of view what the growth of streaming means for moviemaking. We even got into the “dark arts of filmmaking” (you’ll have to listen to learn about this!). We’ve never had the opportunity to sit with the studio and ask them all our questions so we had a great time! Don’t miss it if you want to learn everything on the studio side!

EPISODE 37 - LAURA METCALFE - DI Producer/Finishing Producer Team Deakins looks into the final step of making a movie or the DI, with DI Producer/ Finishing Producer, Laura Metcalfe (1917, WONDER WOMAN, TOMB RAIDER). While previously called the “DI Producer” since when it started it was all about the DI (“Digital Intermediate”), because the process has become so complex, you’ll hear the role referred to as “Finishing Producer”. We speak with Laura Metcalfe of Company 3 in London who worked with us on “1917”. We talk about when this role actually starts on a movie (much earlier than you might think!) and talk at length about setting up workflows that continue until the film finishes. We also go into detail with Laura about the very bespoke workflow on “1917” and the challenges it presented. We also walk through some of the deliverables of a film (the different formats that are made), how the dailies timing differs from the DI timing and the steps to setting up a DI. And, of course, much more! A very detailed look at post!

EPISODE 36 - LINUS SANDGREN - Cinematographer Team Deakins sits down for a conversation with cinematographer, Linus Sandgren (NO TIME TO DIE, FIRST MAN, LA LA LAND, JOY). “I love the creation of the image.” We cover a lot of ground in our talk and touch on, among other things, Swedish films and sensibilities, working minimally, how important it is to find the right approach for each movie. He also goes into detail about how he develops the look with the director. He tells us about working with David O Russell and does a deep dive on the making of FIRST MAN which you don’t want to miss! And finally, of course, we talk a bit about shooting a Bond movie. A fascinating conversation with a talented image-maker! RECOMMENDED EPISODE VIEWING: First Man, 6 Souls

EPISODE 35 - JOE WALKER - Editor Team Deakins speaks with friend and two time collaborator, editor Joe Walker (ARRIVAL, SICARIO, BLADE RUNNER 2049, 12 YEARS A SLAVE). We get an interesting look into the changes in the techniques of cutting between now and when Joe started. We talk about where the cutting style of the movie comes from, when a sound editor comes in and what they, test screenings - pros and cons. We also touch on the editing in Sicario, 12 Years a Slave and Shame. We do get into what crossing the line is and what you can get away with continuity-wise. And we even share our personal work-related nightmares! It’s an episode packed with information that you won’t want to miss!

EPISODE 34 - JOHN LINDLEY - Cinematographer Team Deakins speaks with John Lindley, cinematographer and president of camera local 600. John shot the films FATHER FIGURES, PLEASANTVILLE, FIELD OF DREAMS, and BEWITCHED. We talk about documentaries and what working on them gives you - both personally (it “enlarges your life”) and skill-wise. We also talk about handling the pressure on the set tin the role of dp and how to oversee the people you’re working with and getting the best out of them. The difference between working in TV and on features is also looked at. We also learn about unions and the camera union.

Joel Coen, a renowned director, discusses his experiences in filmmaking, from starting as a teenager to working on independent movies. They talk about financing their first movie and maintaining creative control. The collaborative nature of filmmaking and the importance of collaboration are emphasized. They also discuss the control and mastery of a director, challenging filming conditions, working with actors, and retaining passion for work.