Team Deakins

SEASON 2 - EPISODE 68 - JAMES CHINLUND - PRODUCTION DESIGNER Production designer James Chinlund (THE BATMAN, THE AVENGERS, REQUIEM FOR A DREAM) joins us on this episode of the Team Deakins Podcast. Reflecting on his childhood, James recalls to us noting the relationship between crowds of worshipers and the inner sanctum of the Cathedral of St. John in New York while squirreled up above in its attic. While discussing James’ earlier work, we consider the balance a set or location needs between stripping it to its bare essence for the scene while avoiding an overly minimal design more appropriate for the theater. As avid fans of THE BATMAN, we ask James how he worked with director Matt Reeves and cinematographer Greig Fraser over three years and through a global pandemic to bring Gotham to the screen in all its gloomy glory. James also reveals how he learned to overcome his mistrust of VFX while working on THE AVENGERS, and we ponder the future of production design amidst the current and looming advances in technology. - This episode is sponsored by Fiilex

Producer Ed McDonnell joins the Team Deakins Podcast to discuss his career in Hollywood, including his rise from assistant to executive. He shares an important lesson he learned from being fired over 'Beverly Hills Cop' and talks about collaborating with directors like Chris Nolan and David O. Russell. They also explore the future of films and the impact of streaming platforms, as well as the significance of crew members reading and understanding the script.

Cinematographer Oliver Stapleton joins the podcast to discuss his career and his role as Co-Head of Cinematography at NFTS. He talks about helping directors execute their vision, recalls interesting tales from his career, and shares his predictions for the future of filmmaking. He also reminisces about his childhood and his love for cinema, recounts a traumatic experience that impacted his career, and discusses his experiences shooting 'My Beautiful Laundrette' and 'Absolute Beginners'. Additionally, he explores the changing landscape of cinematography due to technology advancements and emphasizes the importance of selecting the right film school and teachers.

Reed Morano, director and cinematographer, shares her journey from family documentarian to the world of filmmaking. She discusses getting her first cinematographer job on Craigslist after film school and shooting FROZEN RIVER. We learn about the types of projects she is approached for as a director and what drew her to direct I THINK WE'RE ALONE NOW. They also discuss the challenge of improving scripts and the importance of storytelling.

SEASON 2 - EPISODE 64 - ELLEN LEWIS - CASTING DIRECTOR On this episode of the Team Deakins Episode, casting director Ellen Lewis (KILLERS OF THE FLOWER MOON, THE DEVIL WEARS PRADA, GOODFELLAS) joins us to talk about all things casting—of which we knew very little before speaking with her. A disciple of veteran casting director Juliet Taylor, Ellen shares with us how they were first introduced and what she learned working with her for eight years. Ellen reveals how closely casting works with talent agents to find the right actor for a role and how some casting directors even directly negotiate an actor’s contract. We worked with Ellen on KUNDUN, and she recounts her global odyssey to cast the 14th Dalai Lama across four separate stages of his life. We later discuss setting actors at ease, both on set and in the audition room, and how we do what we can to lift the pressure under which actors must work. Ellen also admits to us just how far she’s willing to travel to go to set. - Recommended Viewing: KUNDUN - This episode is sponsored by Fiilex

Rian Johnson, writer and director of Knives Out, Star Wars: The Last Jedi, and Looper, discusses various topics in this podcast. He talks about attending a screenwriting seminar with his father, the father-son story in Looper, differences in crew cultures, creative partnerships with Joseph Gordon-Levitt and Steve Yedlin, the design of the throne room in The Last Jedi, and building extensive and grounded sets. Johnson also reflects on his abilities as a filmmaker and the beauty of emotionally correct scenes in a story.

SEASON 2 - EPISODE 62 - DECLAN QUINN - CINEMATOGRAPHER Cinematographer Declan Quinn (HAMILTON, LEAVING LAS VEGAS, MONSOON WEDDING) speaks with Team Deakins on this episode of the podcast. A first generation immigrant from Ireland, Declan first reflects on his youth bouncing between America and his family’s home country. We then ruminate on Declan’s decision to spend part of his early career in Ireland and on the function of pubs as watering holes wherein a young filmmaker could, back when Roger and Declan were starting out at least, find a community with which to celebrate and commiserate over work and life. Later, Declan shares his experiences working with directors Mike Figgis and Neil Jordan and on the myriad of other films he helped bring to life. Towards the end, Declan describes the process of Broadway captures and how he filmed HAMILTON at the height of its popularity with its original cast. - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 61 - DALLAS FILM COMMISSION On this episode of the Team Deakins Podcast, we sit down with two members from the Dallas Film Commission: Tony Armer, the commissioner, and Andrew Vela, a project specialist. We pepper Tony and Andrew with questions throughout the episode. What does a film commission office actually do? How do offices differ at the state and city levels? How do they help local filmmakers? And who’s responsible for incentives? Andrew and Tony (who is also one of the founders of the Sunscreen Film Festival in St. Petersburg, Florida) also answer our many questions about festivals. Should you go to your local film festival? Is it worth submitting to the bigger ones? And which festivals should you even submit to? In between all our questioning, we also learn how Tony and Andrew came to work at the Dallas Film Commission and of the various responsibilities of their roles within it.  - This episode is sponsored by Fiilex

David Lowery, Writer / Director, discusses his early childhood obsession with Star Wars, his career in independent filmmaking, and the making of AIN’T THEM BODIES SAINTS and A GHOST STORY. They dive into the development of film titles, the use of old-fashioned illusions in creating the Ghost's costume, and the importance of a memorable title. David also touches on film financing and the process of storyboarding and drawing in filmmaking.

Kelley Dixon, editor on Obi-Wan Kenobi, The Goldfinch, and Breaking Bad, shares her journey from the MGM/UA mailroom to becoming a successful editor. She discusses the application of visual effects in editing and how it expands creative possibilities. The episode explores editing as an invisible art and the role of editing in setting the audience's state-of-mind. The speaker also talks about working on flying sequences, collaborating with actors, and the dynamic relationship between editors and cinematographers.