147 Folgen

The Cinematography Podcast is the program about the art, craft and philosophy of the moving image and the people who make it happen. Your job title doesn't have to be cinematographer to be featured on the show. We interview a wide variety of filmmakers including, actors, directors, producers, production designers, editors, storyboard artists and those in related filmmaking careers. This is not a film school, more like a professionally produced radio program found on NPR, each episode brings an interesting perspective to an often overlooked and widely misunderstood craft. Recorded in Hollywood, California at the world headquarters of Hot Rod Cameras. Hosted by Ben Rock and Illya Friedman.

The Cinematography Podcast The Cinematography Podcast

    • TV und Film

The Cinematography Podcast is the program about the art, craft and philosophy of the moving image and the people who make it happen. Your job title doesn't have to be cinematographer to be featured on the show. We interview a wide variety of filmmakers including, actors, directors, producers, production designers, editors, storyboard artists and those in related filmmaking careers. This is not a film school, more like a professionally produced radio program found on NPR, each episode brings an interesting perspective to an often overlooked and widely misunderstood craft. Recorded in Hollywood, California at the world headquarters of Hot Rod Cameras. Hosted by Ben Rock and Illya Friedman.

    Cinematographer Quyen Tran on Palm Springs, Unbelievable, A Teacher, baking for charity, shooting during the pandemic, and more

    Cinematographer Quyen Tran on Palm Springs, Unbelievable, A Teacher, baking for charity, shooting during the pandemic, and more

    The Cinematography Podcast Episode 110: Quyen Tran



    With a background in photojournalism and documentary, cinematographer Quyen Tran is drawn to emotional stories and giving voice to victims. But she also has a talent for shooting comedies, such as The Little Hours, the series Camping, and most recently the hit movie Palm Springs. Palm Springs is a comedy about two people trying to escape a time loop, reliving the same day over and over, like Groundhog Day. The film became hugely popular and critically acclaimed during the pandemic, probably because it resonated with everyone locked down and feeling like each day was the same. Palm Springs was shot on a relatively small budget and a pretty fast schedule, so Q was able to call in a few favors to help stretch the budget. She enjoyed working with Cristin Milioti, Andy Samberg and JK Simmons, who was a great foil for Andy Samberg's character. A great deal of the movie was actually improvised- while it was definitely scripted, there were many alternate takes that made it into the movie. Since the film is about a constantly repeating day, the actors improvising different takes kept the story fresh and each take could be a bit different each time.



    Q also shot a few episodes of the Netflix series Unbelievable, a true story about a young woman who is raped and then recants her story. Years later, two female detectives track the serial rapist and prove her story true. The series won a Peabody Award for showing a humanized exploration of rape survival. Q and director Lisa Cholodenko knew they wanted very literal and subjective camerawork, making the camera seem like it was always from the character Marie's point of view of being sexually assaulted. They had the actress Kaitlyn Dever block scenes in pre-production so that she could help contribute and feel comfortable in the environment. Q chose to place a camera under a table in the interrogation scene so that it could still get a close up on her face, and give a feeling of disembodiment and detachment from her body.



    The FX/Hulu series A Teacher explores grooming and sexual abuse, but this time with a male victim. Quyen shot the show in a naturalistic way as she did with Unbelievable. She wanted to stay true to the material and help the viewer emphasize with the victim.



    One of Q's passions in life is cooking and baking, and during the pandemic in her down time, Q and her friend and fellow DP, Jeanne Tyson, decided to start Doughrectors of Photography. In exchange for a donation to the LA Food Bank or other charity such as Vote Blue, patrons receive a loaf of homemade sourdough and/or cookies. Doughrectors has now donated over 100,000 meals to the L.A. Food Bank, and they continue to bake and raise money.



    Most recently, Quyen was shooting Maid with director John Wells in Victoria, BC. They had to follow strict COVID protocols, including quarantining for two weeks before shooting. She was able to have a lot of prep time over Zoom with the director. The crew had to have masks on at all times of course, and were tested 3 times per week, taking their time and limiting the amount of people in the space.



    You can check out Doughrectors of Photography and find out how you can donate and get some delicious baked goods on Instagram at @doughrectorsofphotography



    You can hear our previous interview with Quyen Tran here.



    Find a href="https://www.qtranfilms.

    • 53 Min.
    War Stories Vol. 5: Tales from the Set featuring Newton Thomas Sigel, Lije Sarki, Dan Kneece, Jeff Cronenweth, Tony Liberatore, Trevor Forrest, Iris Ng, Bill Totolo, Johnny Derango and Alex Winter

    War Stories Vol. 5: Tales from the Set featuring Newton Thomas Sigel, Lije Sarki, Dan Kneece, Jeff Cronenweth, Tony Liberatore, Trevor Forrest, Iris Ng, Bill Totolo, Johnny Derango and Alex Winter

    Special: The Cinematography Podcast War Stories Vol. 5



    In our fifth War Stories Special, we feature ten guest's harrowing, hilarious or heartwarming stories they had while on set, or a formative career experience that led them to cinematography.



    Find full interviews with each of our featured cinematographers in our archives!



    Cinematographer Tom Sigel experiences a fight on the set of Three Kings; producer Lije Sarki and the horror film that never saw the light of day; Dan Kneece on working in Chile for a job; Jeff Cronenweth figured out an elaborate ruse to steal a shot while shooting The Social Network; storyboard artist Tony Liberatore on finding his career path; Trevor Forrest talks about one of his more unusual and life-affirming gigs; Iris Ng on the bureaucracy in Iraq to shoot at Shanidar Cave; Bill Totolo experiences the Survivor reality show shoot from hell; Johnny Derango races to get a shot; and finally, Alex Winter on shooting with a wind-up Bolex in a mosh pit.



    Do you have a War Story you'd like to share? Send us an email or reach out to us on Facebook, Twitter, or Instagram!



    Sponsored by Hot Rod Cameras



    LIKE AND FOLLOW US, send fan mail or suggestions!



    Facebook:@cinepod



    Instagram: @thecinepod



    Twitter: @ShortEndz



    Podcast Credits:



    Editor in Chief:  Illya Friedman Instagram: @hotrodcameras @illyafriedman



    Ben Rock:  Twitter @neptunesalad  Instagram: @bejamin_rock



    Producer: Alana Kode



    Editor: Paul Ohnersorgen



    Composer: Kays Alatractchi

    Subscribe to the Podcast on Apple Podcasts or click on the link below to listen here

    • 37 Min.
    Tami Reiker, ASC on One Night in Miami, working with director Regina King, The Old Guard, early career on High Art, Pieces of April

    Tami Reiker, ASC on One Night in Miami, working with director Regina King, The Old Guard, early career on High Art, Pieces of April

    The Cinematography Podcast Episode 109: Tami Reiker



    Tami Reiker, ASC focuses on how to make beautiful, authentic performances while maintaining the director's vision. Her most recent film, One Night in Miami, is full of amazing performances. Directed by Academy Award winning actress Regina King, One Night in Miami is based on real events, when Malcolm X, Muhammad Ali, Sam Cooke and Jim Brown met in a hotel room to celebrate Ali's fight victory over Sonny Liston. The film is based on a play by Kemp Powers, which presented a challenge for Tami since most of it takes place in one hotel room and it's almost entirely dialog. All the actors had very busy schedules, so she and Regina King had only four days for rehearsal. King had very specific ideas about the type of film she wanted to make, and they planned the blocking and the shots together. It was also important for King for Tami to reproduce some of the scenes from historic reference photos, such as the original Hampton House hotel, Cassius Clay working out in the swimming pool, the diner, and the fight scenes. To give One Night in Miami a less static feel, Tami kept the camera moving, hiding some in walls on the set and using a jib arm, keeping her shots fluid so that the camera feels like a fly on the wall during the men's conversations. Tami chose an Alexa 65 and used Prime DNA lenses with Bronze Glimmerglass to give the movie a vintage look.



    Growing up, Tami was always interested in photography. She attended NYU film school, where she worked on several student films and met director Lisa Cholodenko, with whom she later shot the film High Art. The 1990's to the early 2000's was the heyday of indie filmmaking and with the advent of digital cinema, Tami was excited to be involved with independent production companies such as InDigEnt, which produced Pieces of April in 2003 starring Katie Holmes. InDigEnt's business model allowed each person on the crew to own a percentage of the movie. Tami shot the film on a mini DV camera, and she still gets a residual check for Pieces of April today.



    One Night in Miami can be seen at drive in theaters in Los Angeles and is available to stream on Friday, January 15 on Amazon Prime.



    Find Tami Reiker



    Instagram: @tamireiker123



    Close Focus: The board game Risk is becoming a TV series, which seems to be a trend- there's also movies and TV series based on Dungeons and Dragons, Monopoly and a remake of Clue.



    Ben's short end: The podcast Dead Eyes. In 2001, actor Connor Ratliff is fired by Tom Hanks from the HBO miniseries Band of Brothers for supposedly having “dead eyes.”



    Illya's short end: Tokina Cinema Vista lenses are a super premium lens. Now the series will have a 65mm focal length available. You can buy Tokina Lenses at Hot Rod Cameras and pre-order the 65mm Vista.



    Sponsored by Hot Rod Cameras



    LIKE AND FOLLOW US, send fan mail or suggestions!



    Facebook:@cinepod



    Instagram: @thecinepod



    Twitter: @ShortEndz



    Podcast Credits:



    Editor in Chief:  Illya Friedman@hotrodcameras



    Instagram: @illyafriedman



    a href="http://benrockonline.

    • 50 Min.
    Jake Swantko, DP and producer of The Dissident, on working with director Bryan Fogel and shooting the controversial documentary

    Jake Swantko, DP and producer of The Dissident, on working with director Bryan Fogel and shooting the controversial documentary

    The Cinematography Podcast Episode 108: Jake Swantko



    Cinematographer Jake Swantko spoke with us last year at the Sundance Film Festival after the premiere of The Dissident, the documentary he shot with director Bryan Fogel. Jake and Bryan had previously collaborated on the Oscar-winning film, Icarus. The Dissident explores the assassination and international coverup of outspoken Washington Post journalist Jamal Khashoggi.



    Once director Bryan Fogel learned more about the circumstances surrounding the death of Khashoggi, he knew this was another important- and dangerous- subject to film for his next documentary. Bryan took the idea to Jake, who also worked as a producer on the film, and they began the grueling process, traveling to Canada and Turkey multiple times to interview Khashoggi's close friend and Saudi insurgent Omar Abdulaziz, speaking to Khashoggi's fiancée Hatice Cengiz, spending a year digging into the case and meeting with the Turkish government. The Dissident team knew they had to have the cooperation of Turkey to shoot the story, since Khashoggi was murdered at the Saudi consulate in Istanbul, and they eventually scored an interview with Irfan Fidan, the chief prosecutor in Istanbul who investigated the murder. Since The Dissident was so huge in scope, Jake knew he wanted to elevate the production value of the film and shot it like a dark thriller. He set up most interviews formally instead of run-and-gun style, with three cameras and one on dolly track to push in on the subject's face.



    Despite being well received at Sundance, The Dissident struggled to find a distributor, even from Netflix, who had championed Icarus. Amazon Prime also would not buy the film, despite Jeff Bezos briefly being in The Dissident- Jamal Kashoggi wrote for his newspaper, The Washington Post and Bezos' phone was hacked by Saudi Arabian government hackers. It seems the streaming services feared retaliation by the Saudi government and didn't want to risk losing viewers in that market. Briarcliff Entertainment finally championed The Dissident, and it is currently available on VOD.



    The Dissident is available to stream now on video on demand services.



    You can hear our past interview with Jake Swantko talking to us about the Oscar winning documentary, Icarus.



    Find Jake Swantko



    Instagram @swantko



    IT'S A GIVEAWAY! Last chance to enter to win Bruce Van Dusen's book, 60 Stories about 30 Seconds: How I Got Away with Becoming a Pretty Big Commercial Director Without Losing My Soul (or Maybe Just Part of It). Like and comment on our Bruce Van Dusen post on Facebook and we'll choose a winner from the comments.



    Close Focus: A little of this, a little of that- productions asked by guilds to shut down due to coronavirus spike; China exceeded the U.S. box office in 2020 for the first time, which isn't a big surprise since many theaters across the U.S. have been closed; the film Minari placed in the a href="https://deadline.

    • 49 Min.
    Best Of 2020 featuring Bradford Young, Kira Kelly, Greig Fraser, Anthony Dod Mantle, Wally Pfister, Brendan Davis, Don Coscarelli, Frederick Wiseman, Iris Ng, Bruce Van Dusen, Julie Taymor and Ron Howard

    Best Of 2020 featuring Bradford Young, Kira Kelly, Greig Fraser, Anthony Dod Mantle, Wally Pfister, Brendan Davis, Don Coscarelli, Frederick Wiseman, Iris Ng, Bruce Van Dusen, Julie Taymor and Ron Howard

    Special: The Cinematography Podcast Best of 2020



    In our first-ever Best Of compilation episode, we have a dozen clips of listener favorites from 2020 and some of our selects as well.



    Cinematographer Bradford Young goes deep into his filmmaking philosophy and influences, such as on Selma; Kira Kelly talks about making the documentary 13th with director Ava DuVernay; Greig Fraser on Lion, Star Wars and The Mandalorian; Anthony Dod Mantle describes exploring New York City for The Undoing; Wally Pfister on his early career working on Roger Corman movies; Brendan Davis on leaving China as the pandemic hit; director Don Coscarelli remembers working with cinematographer John Alcott on The Beastmaster; legendary documentarian Frederick Wiseman talks about his process of assembling his films; cinematographer Iris Ng on making documentaries that are personal narratives; commercial director Bruce Van Dusen tells an anecdote from an Ex-Lax commercial; director Julie Taymor on the visual language of The Glorias; and finally director Ron Howard on directing the documentary Rebuilding Paradise versus his approach to narrative films.



    Be sure to check out the full episodes, and let us know what you think!



    IT'S A GIVEAWAY! Enter to win Bruce Van Dusen's book, 60 Stories about 30 Seconds: How I Got Away with Becoming a Pretty Big Commercial Director Without Losing My Soul (or Maybe Just Part of It). Like and comment on our Bruce Van Dusen post on Facebook and we'll choose a winner from the comments.



    Sponsored by Hot Rod Cameras



    LIKE AND FOLLOW US, send fan mail or suggestions!



    Facebook:@cinepod



    Instagram: @thecinepod



    Twitter: @ShortEndz



    Podcast Credits:



    Editor in Chief:  Illya Friedman@hotrodcameras



    Instagram: @illyafriedman



    Ben Rock:  Twitter: @neptunesalad



    Instagram: @bejamin_rock



    Producer: Alana Kode



    Editor: Ben Katz



    Composer: Kays Alatractchi

    Subscribe to the Podcast on Apple Podcasts or click on the link below to listen here

    • 1 Std. 33 Min.
    Erik Messerschmidt, ASC: Mank, Mindhunter, Legion, Raised By Wolves, working with David Fincher

    Erik Messerschmidt, ASC: Mank, Mindhunter, Legion, Raised By Wolves, working with David Fincher

    The Cinematography Podcast Episode 107: Erik Messerschmidt



    Erik Messerschmidt, ASC believes that cinematographers get too much credit for how a movie looks and not enough for how the story is told. When you break a scene apart and assemble a sequence, the cinematographer has a huge part to play in the process of deciding when to move the camera, what lenses are used, how it flows and when it moves. Erik thinks when you look at it that way, cinematography has a lot more in common with editing rather than photography.



    Erik's most recent project, Mank- which is currently streaming on Netflix- was shot entirely in black and white. The look was the result of lots of conversations with director David Fincher. They both had a clear idea of what they wanted it to look like and also exactly what they did not want- too much heavy handed, contrast-heavy black and white cinematography in a film-noir style would take the viewers out of the experience, so it needed a lighter touch. Erik used fine art photography from the '30's to the mid '40's as a reference, and he and David Fincher wanted an homage to Citizen Kane without it actually looking like the film. Fincher was clear that he wished to transport the audience so they would lose their awareness of watching a black and white movie, and feel as though they are in the world of Herman J. Mankiewicz as he writes the script for Citizen Kane in the 1940's.



    Erik has worked with director David Fincher on several projects, first working as a gaffer on Gone Girl, then moving into the camera department on the series Mindhunter. Erik and David have become very close collaborators, and he enjoys working with him. Fincher likes a sense of hyper reality to his movies, and Erik sees it as his job as the cinematographer to learn what the director responds to, figure out how best to support their process and bring something to the party.



    Before moving into the camera department, Erik worked for several years as a gaffer. After working with David Fincher on two seasons of Mindhunter, Erik needed more work since he was a newly minted director of photography. He got the opportunity to shoot second unit on Sicario: Day of the Soledado with cinematographer Dariusz Wolski as the lead DP. He then worked on a few episodes of the TV series Legion with producer/director Noah Hawley and DP-turned-director Dana Gonzales, which was visually fun to work on. Legion's look was whimsical yet dark, as it explored the main character's mental illness and possible superpowers. He had the opportunity to work with Dana again on the finale of season four of Fargo. Erik also shot several episodes of the Ridley Scott series, Raised By Wolves, splitting the series with DP Ross Emery.



    Mank is available to watch right now on Netflix.



    Find Erik Messerschmidt: Instagram @emesserschmidt



    IT'S A GIVEAWAY! Enter to win Bruce Van Dusen's book, 60 Stories about 30 Seconds: How I Got Away with Becoming a Pretty Big Commercial Director Without Losing My Soul (or Maybe Just Part of It). Like and comment on our Bruce Van Dusen post on Facebook and we'll choose a winner from the comments.



    Sponsored by Hot Rod Cameras

    • 1 Std. 11 Min.

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