Welcome back to the Following Films Podcast. I'm your host, and today we are talking about a show that probably sounds like a strange candidate for a modern streaming reboot, until you actually look at how they made it. When Netflix announced a new take on "Little House on the Prairie," a lot of people reasonably expected a soft, nostalgic retread of the 1970s TV series. Instead, the 2026 reboot starring Alice Halsey, Luke Bracey, and Warren Christie dropped last month, and it is a completely different beast. It pulls much closer to the raw, gritty reality of the original books than the old show ever did. It already got picked up for a second season, and a huge reason the series hits the way it does comes down to how it looks. My guest today is cinematographer C. Kim Miles, ASC, CSC, MYSC. He shot four of the eight episodes this season, and he had to deal with absolute chaos to pull it off. We're talking severe prairie weather, tornadoes, ticks, rough terrain, and keeping heavy camera gear moving around actors wearing full period costumes. It was a brutal shoot, but the visuals speak for themselves. If you follow Kim’s work, that adapt-and-survive approach shouldn't surprise you. He lensed "The Brothers Sun" for Netflix, shot the Apple TV+ documentary "Still: A Michael J. Fox Movie" which earned him an Emmy nomination, and worked on projects like "Yellowjackets," "Lost Ollie," and Robert Zemeckis's "Project Blue Book." He knows how to ground large-scale, difficult productions in real human texture. We talk about building the look of the new series, fighting the elements, and what it actually takes to make a pioneer story feel dangerous again. Before we jump in, do me a quick favor: if you enjoy the show, take ten seconds to leave us a review on whatever app you're listening on, hit that subscribe button, and send this episode to a friend who loves film craft. It genuinely helps get the show in front of more people. Now, here is my conversation with C. Kim Miles.
