The Cinematography Podcast Episode 129: Dan Stoloff
Over his long career, cinematographer Dan Stoloff feels he’s always learning as a DP. Every job, even if it seems small, is an opportunity to meet people and build relationships.
Dan’s latest project, The Boys season two on Amazon Prime, plays with the idea that superheroes in that world are actually just corrupt and possibly psychotic people with special powers, who behave in ways that are anything but super. They have celebrity, play politics, and use publicists and the media to manipulate their image. A small group of people- “The Boys” in the show’s title- band together to expose the superheroes and the corporation they work for. Dan likes that the show stays relatable and not to fantastical. When he came on board for the second season of The Boys, Dan knew he wanted to change the look as the story moves forward. The first season presented a slick, neatly packaged corporate world for the superheroes which was shot with a Steadicam, while the grittier world of the regular guys who are trying to expose and take down the supers was done handheld. For the second season, the two worlds have started to clash and unravel, so Dan gave everything a more ragged look. He decided to adhere more closely to the graphic novel of The Boys, sometimes using black silhouettes and contrasts such as subtractive lighting, positioning the actors against a dark background. Dan also enjoyed that season two presented a variety of scenes to shoot with different cameras, equipment, lighting scenarios and lenses, such as a big-budget hero movie, newscasts, an awards show, a country farmhouse and a gritty basement.
In Dan’s early career, he moved from Boston to New York, after having shot several claymation films. He began shooting comedy projects for Broadway Video, Saturday Night Live creator Lorne Michael’s production company, and got a call to shoot The State, a 1990’s MTV sketch comedy show featuring Michael Ian Black, David Wain, Thomas Lennon, Michael Showalter, Kerri Kenny-Silver, and many more. But Dan hadn’t considered television as a serious place for artistic expression until The Sopranos opened his eyes to the possibilities of a quality series. By then, the mid-budget independent features that Dan had worked on started to dry up, and he began seeking out jobs on television series. After landing his first television series, Memphis Beat, Dan found he likes the precision, continuity, and security of TV. He went on to DP the show Fairly Legal and then worked for nearly five seasons as the cinematographer of the USA show Suits. On Suits, Dan learned a lot about shooting through multiple levels of glass, playing with reflections and bouncing outdoor light to make it look more natural even within an office building or conference room.
Prior to The Boys, Dan shot season six of The Americans on FX. In season six, more of The Americans takes place in Russia, and some of the street scenes and exteriors were actually shot there, though most of the interiors were shot on a soundstage. Dan wanted to differentiate between the two countries, keeping the colors to a green and cyan palette for Russia so that it felt cold, while in contrast the American scenes were shot in full, rich color.
Find Dan Stoloff
You can watch Season Two of The Boys streaming on Amazon Prime.
Close Focus: The Golden Globes and the Hollywood Foreign Press Association are in the news again as two members quit and say they will start their own organization.
Ben’s short end: Shotdeck, created by cinematographer Lawrence Sher, is a searchable database of images for filmmakers to use for pitch decks and reference shots. Shotdeck is now a subscription service, and can be purchased per month or per year.
Illya’s short end: Friend of the show and client Rodney Charters recently introduced Hot Rod Cameras to the Orion 300 FS by Prolycht, which is a full spectrum 300 watt light that uses six channel color mixing technology.
Sponsored by Hot Rod Cameras
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