The Cinematography Podcast Episode 270: Stuart Dryburgh
The post-apocalyptic TV show Fallout is based on the 1997 videogame, which was a huge commercial and critical success. Centuries after a nuclear war, Lucy (Ella Purnell) must venture out of her sheltered underground Vault dwelling into the dangerous Wasteland of Los Angeles to find her kidnapped father (Kyle MacLachlan.) She encounters strange characters, including a Ghoul bounty hunter (Walton Goggins) and Maximus (Aaron Moten) a member of the militaristic Brotherhood of Steel.
Cinematographer Stuart Dryburgh is best known for his work on the 1993 film, The Piano, for which he received an Academy Award nomination. It opened up opportunities for him outside of New Zealand, and he frequently worked with women directors like Karyn Kusama (Aeon Flux) and Susan Seidelman (Sex and the City TV pilot.) Stuart also shot Bridget Jones’s Diary, The Runaway Bride, and the New Zealand indie film Once Were Warriors. He particularly enjoyed working with director John Sayles on the 1996 western mystery drama, Lone Star. Stuart’s cinematography captured the vastness and beauty of Texas. The low budget forced him to use “poor man’s process” an old film technique used for staging a driving sequence.
When Stuart read the script for Fallout, he watched play throughs of the game to get an idea of what it should look like. “I had some idea what the basis is, because the game has been around for 30 years. I pulled a lot of images and built a Pinterest board, which turned out to be completely wrong, because I’d gone very atmospheric, very gamey with my references.” says Stuart. “And Jonathan (Nolan) said ‘No, I don’t want to do it that way. I want to play it real, not too many tricks. There’s going to be enough crazy stuff in this movie content-wise- play it straight, and just make it nice.’”
Fallout creator Jonathan Nolan chose to shoot on 35mm film, using ARRI cameras and anamorphic lenses. The show is set in three main spaces, each with its own distinct color palette and look: the underground vault, the wasteland, and the past, before the nuclear disaster. The vault is lit entirely by artificial lighting and Stuart worked closely with the art department to make sure the visible lighting provided enough ambient light to shoot film. It allowed the camera freedom of movement within the space. By contrast, for the wasteland, Stuart leaned into the Western genre the show evokes, balancing the washed-out, desolate surroundings with the vibrancy of pre-war remnants. The wasteland was shot in several different locations including Namibia, the Utah salt flats and upstate New York.
Find Stuart Dryburgh: Instagram @stuartdryburgh
Close Focus: Paramount has finally reached a sale agreement with Skydance, David Ellison’s media production and financing company.
Ben’s short end: Ben recently visited the Enzian Theater, a small independent theater in Florida that depends on arts funding. Recently, Florida Governor Ron DeSantis vetoed $32 million in arts funding from the legislature-approved 2024-25 budget, effectively wiping out the entire state arts budget.
Illya’s short end: The IATSE union has reached a tentative agreement with studios, including a large wage increase of about 14.5% by the end of the three-year contract.
Sponsored by Hot Rod Cameras
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Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative. Greentree Creative can help you with all of your digital marketing needs including podcast launch and creation, advertising, social media management and content creation.
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Podcast Credits:
Producer: Alana Kode
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Host and editor in Chief: Illya Friedman
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Host: Ben Rock
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Editor: Michael Dispenza
Composer: Kays Al-Atrakchi
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