245 episodes

The Team Deakins podcast is an ongoing conversation between acclaimed cinematographer Roger Deakins and James Deakins, his collaborator, about cinematography, the film business and whatever other questions are submitted. We start with a specific question and end....who knows where! We are joined by guests periodically. Followup questions can be posted in the forums at www.rogerdeakins.com.

Team Deakins James Ellis Deakins, Roger Deakins

    • Arts
    • 5.0 • 3 Ratings

The Team Deakins podcast is an ongoing conversation between acclaimed cinematographer Roger Deakins and James Deakins, his collaborator, about cinematography, the film business and whatever other questions are submitted. We start with a specific question and end....who knows where! We are joined by guests periodically. Followup questions can be posted in the forums at www.rogerdeakins.com.

    GARRETT BROWN - Inventor of the Steadicam

    GARRETT BROWN - Inventor of the Steadicam

    SEASON 2 - EPISODE 82 - GARRETT BROWN - INVENTOR OF THE STEADICAM
    On this special episode of the Team Deakins Podcast, we speak with the inventor of the Steadicam: Garrett Brown (YENTL, THE SHINING, BOUND FOR GLORY). He not only invented the tool but also frequently operated it, breaking the new system in on MARATHON MAN, ROCKY, and BOUND FOR GLORY in a single summer in the mid-1970s. With just a high-school level of understanding of physics, Garrett was able (after a long, isolated week in a remote hotel) to think through the fundamental design of the Steadicam which is still used today—50 years after its invention. We learn about the biomechanics of the human body that informed the design of the Steadicam and of the four key aspects of the device that isolate the camera from its operator. Garrett later recounts the day he first used the prototype on BOUND FOR GLORY (its first ever use in a feature film no less!) and how the late cinematographer Haskell Wexler fought for its inclusion. Garrett also shares how Stanley Kubrick utilized the unique properties of the Steadicam while filming THE SHINING to move the camera “like a ghost” through the empty halls of the Overlook Hotel and chase the indefatigable child actor Daniel Lloyd across miles of carpet. Few people can claim to have changed the way we make movies, and Garrett is one of them.
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    This episode is sponsored by the Dallas Film Commission

    • 1 hr 15 min
    RICK HEINRICHS - Production Designer

    RICK HEINRICHS - Production Designer

    SEASON 2 - EPISODE 81 - RICK HEINRICHS - PRODUCTION DESIGNER
    Production designer Rick Heinrichs (GLASS ONION, STAR WARS: THE LAST JEDI, SLEEPY HOLLOW) joins us in conversation on this episode of the Team Deakins Podcast. From doodling on his homework to drafting the fantastical worlds of Tim Burton, we cover the breadth of Rick’s career in this conversation. Rick shares with us his experience studying at CalArts and learning how to think creatively from filmmakers like Alexander McKendrick and others of his caliber. Rick later reflects on his time as a starting animator at Disney and his early work in the art department before making the full transition to working as a production designer. We reminisce about our time together working on FARGO and THE BIG LEBOWSKI, and Rick shares what it was like to initially work with the Coen brothers and bring the visions in their heads into reality. During our discussion of THE LAST JEDI, Rick shares what went into creating the relatively realistic feeling prevalent throughout the film and how everyone bought into Rian Johnson’s direction for its look. We also consider the importance of tone and the paramountcy of character under which we all ultimately labour. 
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    This episode is sponsored by the Dallas Film Commission

    • 1 hr 12 min
    JUAN JOSÉ CAMPANELLA - Writer / Director

    JUAN JOSÉ CAMPANELLA - Writer / Director

    SEASON 2 - EPISODE 80 - JUAN JOSÉ CAMPANELLA - WRITER / DIRECTOR
    On this episode of the Team Deakins Podcast, writer and director Juan José Campanella (THE SECRET IN THEIR EYES, VIENTOS DE AGUA, SON OF THE BRIDE) joins us for a conversation about his career (of which we have been longtime and passionate fans). After moonlighting as a film student and watching odd-paired double bills at local theaters in Buenos Aires, Juan attended film school at NYU and eventually returned to Argentina after 10 years to continue his career. We learn how Juan and his team pulled off the stadium scene in THE SECRET IN THEIR EYES and why he conceived of the single-shot aesthetic for that particular moment in the film. Juan later shares how his longtime creative partnership with actor Ricardo Darín has developed over the years and what Juan saw in a performance of Ricardo’s that made him believe he was a formidable actor. Juan also shares his approach to rehearsals and how he’s helped actors justify lines that, initially, they have difficulty delivering. Towards the end, Juan reflects on the differences between television and film, the response towards a film based on its distribution strategy, and the changing tastes of audiences.

    Recommended Viewing: THE SECRET IN THEIR EYES
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    This episode is sponsored by the Dallas Film Commission

    • 1 hr 18 min
    DAN BISHOP - Production Designer

    DAN BISHOP - Production Designer

    SEASON 2 - EPISODE 79 - DAN BISHOP - PRODUCTION DESIGNER
    On this episode of the Team Deakins Podcast, we speak with production designer Dan Bishop (FOR ALL MANKIND, MAD MEN, PASSION FISH). From painting scenery on MY DINNER WITH ANDRE to designing the future on FOR ALL MANKIND, Dan has seen it all. We learn how he drew from history to design the world of MAD MEN, and he reveals when and how the series transitioned from film to digital. Later, Dan, after pointing out the tools of his trade were no different from Da Vinci’s for most of his career, reviews the relatively recent advances in computer software and hardware that enable him and his department to quickly and digitally construct and present design ideas. We later reflect on the quest to find the elusive “perfect location” and the varying levels of location scouts’ photography skills. We also discuss the alchemy that takes place when combining light, fabrics, and colours in a physical space and the benefits and drawbacks of working on set versus on location.
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    This episode is sponsored by the Dallas Film Commission

    • 1 hr 17 min
    PABLO HELMAN - VFX Supervisor

    PABLO HELMAN - VFX Supervisor

    SEASON 2 - EPISODE 78 - PABLO HELMAN - VFX SUPERVISOR
    Visual effects supervisor Pablo Helman (KILLERS OF THE FLOWER MOON, THE IRISHMAN, JARHEAD) joins us on this episode of the Team Deakins Podcast. Born in Argentina, Pablo spent his youth playing music professionally and touring South America with his band before graduating from UCLA and working for several effects houses before ultimately ending up at Industrial Light & Magic where, for the past 27 years, Pablo has hung his hat. Throughout the episode, Pablo shares how he approaches implementing VFX into a film and how he works with directors and the various heads of departments during production to ensure the effects serve the story being told. Pablo also reveals how the de-aging technology used in THE IRISHMAN was developed, how it actually works, and why its development was led with the intent to preserve an actor’s performance. Later, Pablo shares several stories from working on KILLERS OF THE FLOWER MOON, from scanning and reproducing a miniature oil derrick to wrangling digital cows. Towards the end, we consider how VFX is just another tool to use to create the reality of a film and discuss why you ultimately can’t escape from what you shoot.
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    This episode is sponsored by the Dallas Film Commission & Aputure

    • 1 hr 9 min
    PENNY ROSE - Costume Designer

    PENNY ROSE - Costume Designer

    SEASON 2 - EPISODE 77 - PENNY ROSE - COSTUME DESIGNER
    Costume designer Penny Rose (PIRATES OF THE CARIBBEAN, MISSION: IMPOSSIBLE, THE COMMITMENTS) joins us on this episode of the Team Deakins Podcast. Despite dressing actors at a local theatre (as a teenager) and later working alongside fashion designer Elio Fiorucci (as an interpreter), costume design didn’t occur to Penny as a career path until she found herself in the position (as the last-minute backup) on a commercial for director Adrian Lyne. Penny spent the next decade working with and learning from the preeminent English commercial directors of the time, following them into features and further developing her abilities as a costume designer. Penny later breaks down the costume department for us, and we discuss what qualities she looks for in her team members. We also learn how she builds out the look of a character with the director and the actor and of the diplomacy she exercises between the two when a disagreement arises. Towards the end, we reflect on the demands and pleasures of the vagabond lifestyle of a filmmaker.
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    This episode is sponsored by Aputure & the Dallas Film Commission

    • 1 hr 3 min

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