Team Deakins James Ellis Deakins, Roger Deakins

SEASON 2 - EPISODE 90 - DENNIS MUREN - VFX SUPERVISOR
Visual effects supervisor Dennis Muren (JURASSIC PARK, TERMINATOR 2: JUDGEMENT DAY, STAR WARS: RETURN OF THE JEDI) joins us on this episode of the Team Deakins Podcast to discuss his lifelong craft. From playing with stop motion to working on the original STAR WARS, Dennis was interested in visual effects at an early age, and throughout the episode he reflects on the evolution of the field following the advent of computer generated imagery. We learn how Dennis prioritizes emotionality when building VFX into a shot and how he consults with a director and the crew  to come up with the best shots for the film. We also learn about the shift away from using models towards computer generated imagery and about the loss of certain aspects of reality that came with transition. We discuss the focusing power of deadlines, and Dennis later shares some advice for young filmmakers looking to breaking the field of VFX. Also included: how Dennis set up a prehistoric video call to coordinate the VFX of JURASSIC PARK across the globe with director Steven Spielberg in 1993.
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This episode is sponsored by Godox

SEASON 2 - EPISODE 89 - ELLEN MIROJNICK - COSTUME DESIGNER
Costume designer Ellen Mirojnick (OPPENHEIMER, WALL STREET, FATAL ATTRACTION) joins us on this episode of the Team Deakins Podcast. A born and bred New Yorker, Ellen jumped right into costume design on a low-budget feature in New Orleans where she quickly (and easily) took to the role as the department head. She later spent two films working and studying under famed costume designer Sandy Powell before being recruited by director Adrian Lyne to work on FATAL ATTRACTION (one of many films in which she would work with actor Michael Douglass). During our discussion of OPPENHEIMER, Ellen shares the notes she received from director Christopher Nolan that informed her approach to the design of the film’s costumes and reflects on the challenge posed by needing to design costumes that could be shot in black-and-white in one setup and in colour in the next. Ellen also reflects on the challenge of designing the film’s costumes to seamlessly reflect changes in time without losing the characters across numerous decades of story. Towards the end, we discuss the importance of creating costumes that are not only right for the period, but right for the actors who need to wear them.
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This episode is sponsored by Godox

SEASON 2 - EPISODE 88 - JOHN KNOLL - VFX SUPERVISOR
On this episode of the Team Deakins Podcast, VFX supervisor John Knoll (THE BATMAN, ROGUE ONE, PIRATES OF THE CARIBBEAN) joins us to talk about his career and his craft. Despite growing up among an academic family of engineers, scientists, and medical professionals, John fell in love with the fantastic imagery of cinema and television, and he saw miniature work as his way into filmmaking. From cold-calling Industrial Light & Magic at 15 to later working for them, John reflects on his life as one who turns hobbies into professions, and we learn how John fuses technology with art in his work. John reveals, with great clarity, how slit-scans are actually composed and shares how he used the effect to generate the illusion of the Starship Enterprise entering and exiting warp speed. We later discuss the leadership responsibilities of being a supervisor, including giving negative feedback in such a way that elevates a collaborator’s work. Towards the end, we also discuss the enduring appeal of miniatures for audiences and filmmakers alike. In addition to his work in VFX, John (alongside his brother Thomas) invented Photoshop, the popular photo-editing software used around the world.
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This episode is sponsored by Godox

SEASON 2 - EPISODE 87 - STEFAN DECHANT - PRODUCTION DESIGNER
Production designer Stefan Dechant (REBEL MOON, THE TRAGEDY OF MACBETH, WELCOME TO MARWEN) joins us on this episode of the Team Deakins Podcast. We worked with Stefan on TRUE GRIT and JARHEAD, and it was great catching up with him. Like many other young boys of the 70s, Stefan became enchanted with STAR WARS, and (while attending school in Cincinnati, Ohio) lied his way to a gig working on JURASSIC PARK. His first love was storyboards, but he soon found his design and illustration skills best suited a career in art direction and production design. Stefan shares how his time drafting storyboards informs his approach to production design, and we also discuss the integration of emerging technologies in filmmaking today and tomorrow. We also hear about Stefan’s experience working with director Joel Coen and cinematographer Bruno Delbonnel on THE TRAGEDY OF MACBETH and learn how they carved the film’s expressionistic and abstract sets out of light.
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Recommended Viewing: THE TRAGEDY OF MACBETH
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This episode is sponsored by Godox

SEASON 2 - EPISODE 86 - DIANNA FREAS - SET DECORATOR
On this episode of the Team Deakins Podcast, we’re joined by set decorator Dianna Freas (FOR ALL MANKIND, LONE STAR, THUNDERHEART). Studying illustration and fine arts at Syracuse and Parsons, she later attended NYU and found her skills well suited to set design. After an early career period working as a co-production designer alongside husband and production designer Dan Bishop, Dianna transitioned to set decoration full time. Throughout the episode, Dianna defines some of the myriad of roles within the art and set decoration departments. What are lead men? How does she work with a buyer? What does the set decoration coordinator typically oversee? Who keeps the books? Who's responsible for that lamp? The demarcations are many, the responsibilities are numerous, and Dianna maps it all out for us with clarity. We later extoll the virtue of flexibility, and Dianna gives advice to anyone looking to break into the art department.
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This episode is sponsored by Godox & the Dallas Film Commission

SEASON 2 - EPISODE 85 - HANS ZIMMER - COMPOSER
Composer Hans Zimmer (DUNE, INTERSTELLAR, THE LION KING) joins us on this episode of the Team Deakins Podcast. Hans takes us back to his early career working the espresso machine for composer Stanley Myers and later making runs for director Bernardo Bertolucci on THE LAST EMPEROR before reflecting on his experience composing the score for the South Africa-set, anti-apartheid film A WORLD APART. We later discuss the purpose of score in a film and how Hans works to create an environment in which a director’s story can unfold, as does a cinematographer. We learn what Hans is really doing when he’s procrastinating, and we weigh the value of being original and being good. We also trade notes on working with director Denis Villeneuve, and Hans reveals his deeply personal connection to the score and story of THE LION KING. Towards the end, Hans opines that the Hollywood sound is really made in London, and he revels in the joy of conducting an orchestra that has played everything until he brings his original score to their stands.
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This episode is sponsored by the Dallas Film Commission & Godox