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By now you can stream the final episode of Shōgun and so the amazing FX show in its entirety as well.
The whole buildup and evolution of Shōgun is an absolute work of art and in this episode you can listen to Áron’s chat with the first two episodes’ director and cinematographer, Jonathan van Tulleken and Christopher Ross.
From the start of their work together on Misfits, onto Top Boy and now Shōgun, they covered the dynamics of their collaboration, preparing for the series, jumpstarting it, and finding the ideal look for it, then passing the torch on to those working on the later episodes.

(Photo credit: Kurt Iswarienko/FX)
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Can you guess how many different Italian villas/churches/horse stables it took to create the convent for Immaculate? The film’s production designer, Adam Reamer, has the answer and he shared it with us. Filming locations, favourite sets, and Italy’s seemingly endless religious prop collection were all discussed in Szilveszter’s interview with Adam (0:52).
However, this is not everything for the episode! To have a whole picture about the visual storytelling details of Immaculate, Áron had the pleasure of welcoming the film’s cinematographer, Elisha Christian, on the show. For a horror film atmosphere is essential, and from Elisha you can learn how the tension escalated through the pacing and the movements of the camera, and lights will be drawn on the moody candlelit scenes as well (35:00).
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This time we have a real treat for you, as Áron spoke to some of the creative minds whose work allowed HBO’s brand new mini series to look and feel this lived in, this surreal yet lifelike.
In chronological order you can hear  the show’s editors Paulo Pandolpho and Peter Lambert (01:08), followed by production designer Kave Quinn (35:32), and last but not least to complete the story behind the visuals, cinematographer Alwin H. Küchler (1:03:38).
This unusually  long episode gives some insight on piecing the six episodes together in terms of pacing, keeping the inside and the outside of the palace as far and different from one another as possible, and even how power and responsibility go hand in hand not just for the Chancellor, but for people in the film industry as well.

(Photo credit: HBO)
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“Can you hear the music, Robert?” points Bohr the question to Oppenheimer in the latest Best Picture winner.
Our next guest can not only hear the music, but also understand it, create (with) it.
Jeff Russo has worked on the score of many deservedly admired TV shows, such as Fargo, Star Trek: Discovery and Picard or For All Mankind.
This Thursday another project he’s worked on, RIPLEY starring Andrew Scott and Dakota Fanning, landed on Netflix. On this occasion Jeff sat down with Áron to talk about his work on season 5 of Fargo, the difference in approach between limited VS anthology series, or how the music can take even the man behind the wheel on some unexpected ventures.
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The next guest on our podcast is Christian Masini, the editor of Immaculate, who summed up the film the following way: “You show up to it, the movie punches you in the face and then it’s over”
Chris and Szilveszter discussed various aspects of editing a horror film, including jump scares, finding the right length for the film, or how acting performances can influence an editor’s decision making process.
Furthermore, we also got behind the scenes looks on a few key moments, like Cecilia’s interrogation or the infamous nail-tearing scene.


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Who would've guessed that Syndey Sweeney's going to be our next scream queen? We could insert the infamous Paul Rudd meme ("Who would've thought? Not me...") here but it might not be that much of a surprise after all.
However there are many aspects to Neon's Immaculate, directed by Michael Mohan, that resulted in this very much talked about horror flick. One of these is the absolutely chilling, yet at times playful score, thanks to the brilliant Will Bates.
On the week of the film's wide theatrical release Will and Áron talked about the building suspense in the music, the roller coaster ride it can take the audience on, and the instruments he used while scoring this film that you might not generally associate with the genre.

(Photo credit: Alix Becq-Weinstein/Rhapsody PR)
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