December 15, 2021

Oscar winning cinematographer Robert Elswit, ASC on King Richard, Nightcrawler, Boogie Nights and Magnolia

Legendary cinematographer Robert Elswit has shot a wide range of movies, including Boogie Nights, There Will Be Blood- which won him the Academy Award for Best Cinematography- Magnolia, Good Night and Good Luck, Tomorrow Never Dies, The Bourne Legacy, two Mission Impossible movies, and of course Return of the Living Dead Part 2.

Robert’s latest film is King Richard, a biopic that tells the story of how Richard Williams, the father of tennis players Venus and Serena Williams, was determined to shape his daughters into champions. From the beginning, Robert and director Reinaldo Marcus Green wanted the tennis to be realistic. They watched many other tennis movies and didn’t find the speed and athleticism of the actors to be believable. They knew it was going to be tricky dealing with actors pretending to be tennis players. Fortunately, the story was about Venus and Serena developing and honing their tennis skills, so the playing didn’t have to look perfect. The matches were carefully designed around scripted beats that moved the story forward. Robert and Green decided to show only specific moments of the matches, including how Venus and Serena interacted with other players, how the parents interacted with their kids, and how Richard interacted with the coaches and his kids. They were careful in thinking about how to shoot the match, keeping it as interesting and as believable as it could be in terms of speed and athleticism but also making sure that the audience understands what is happening emotionally with the characters. For the look of King Richard, Robert chose several different types of filters and diffusion to represent the light in Compton, but didn’t use as many for Florida, so that the sun could feel more bright and harsh.

Robert’s throughline for Los Angeles for the film Nightcrawler was shooting the ribbons of freeways that run through the Valley, as the main character Louis Bloom drives around LA looking for crime as a news stringer. It was impossible to fake it with a green screen. Robert, the cast and crew had to literally drive around and shoot Los Angeles at night. They had no time or budget to light things, so they scouted locations that were already lit. He took advantage of the street lights and the ambient light from billboards and stores. This approach gave the movie its distinctly seedy look, and Robert felt it was clearly the only approach that fit the script.

You can see King Richard on HBO Max.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep151/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/
Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8

Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

November 3, 2021

Dan Attias, Emmy-nominated director and author of Directing Great Television: Inside TV’s New Golden Age

Dan Attias has directed dozens of episodes of critically acclaimed television shows such as The Wire, The Sopranos, Homeland, The Marvelous Mrs. Maisel, The Americans, Billions, and many more. His years of experience led him to write the book, Directing Great Television: Inside TV’s New Golden Age. The book is not only for those who want to direct, but also for fans who want to know how these shows are made.

In college, Dan studied acting and had to make a short film as part of his film studies. He found he enjoyed being behind the camera as a director, and continued to study film with an eye to directing. Dan started working on several big movies as an assistant director, such as E.T., One From the Heart, Airplane! and Twilight Zone: The Movie. His first directing job was on Stephen King’s Silver Bullet, a werewolf horror movie produced by Dino De Laurentiis.

Dan finds the best way to approach directing a television show is to get invested in the story by finding what interests you in the script. In series television, directors often don’t even get the script until a few days before they’re going to direct it. If the show already exists, Dan likes to immerse himself in the show, watching several episodes and asking the production to send over past scripts. Directing one episode of a long-running show is like writing just one chapter of a novel- it needs to fit in seamlessly to the entire story, while still feeling compelling and propelling the story forward. A director of episodic TV has to balance making it their story while still executing the showrunner’s vision and honoring the intention of the writers. Dan also likes to explore every scene of the episode he’s directing with the writers during a tone meeting. He often asks, what is the story being told? The story isn’t simply what happens, but the meaning that you give to what happens- where you’re directing the audience’s focus. Make sure you keep asking yourself, how does it make me feel? The director must be able to dig down with the actors and come up with an interesting subtext to the story if the scene needs a boost.

Find Dan Attias: www.danattias.com

Directing Great Television: Inside TV’s New Golden Age is available on Amazon.

WIN an autographed copy of Directing Great Television! Follow us on Instagram @thecinepod and comment on our post for this episode!

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep146/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/
Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8

Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

September 22, 2021

Cinematographer John Guleserian on Candyman, working with director Nia DaCosta, Like Crazy, About Time, An American Pickle

Cinematographer John Guleserian has never liked to be pigeonholed into one genre. He’s shot several romantic films, comedy movies and TV series, and with his latest film, Candyman, he can add horror movies to his skill set.

After attending film school at Columbia College in Chicago and then AFI, John worked on several small films and web series before the film Like Crazy launched his career. Most of the characters’ lines were improvised- director Drake Doremus worked from an outline rather than a script, and he had actors Felicity Jones and Anton Yelchin improvise their blocking as well. John and Doremus went through the film chronologically in preproduction, deciding on the basic shots they wanted for the film, shooting it mostly in sequence. Like Crazy went to the Sundance Film Festival and won the Grand Jury prize.

John ended up doing several romantic movies after Like Crazy. Director Richard Curtis (Love, Actually) saw the film, flew John to London and asked him to shoot About Time- John’s favorite movie that he’s worked on so far. On About Time, John felt he learned about keeping the camera balanced between taking in the scope of a beautiful location and set, while still maintaining the intimacy of the characters.

For Candyman, John was directly influenced by the 1992 movie and wanted it to look like the original. John began working on the movie with only about four or five weeks of prep, but he and director Nia daCosta storyboarded and completely previsualized many of the sequences before shooting. In Candyman, reflections play a very important role and most of the art, windows and mirrors were prevised and carefully placed so that the reflections could be picked up by the camera. The visual effects team could then paint out the camera and adjust the Candyman’s movement in the reflections.

Find John Guleserian: http://www.johndp.com/ Instagram @johnguels

You can watch Candyman currently in theaters.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep141/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

September 1, 2021

Director Ferdinando Cito Filomarino and DP Sayombhu Mukdeeprom discuss the Netflix film, Beckett and their close collaboration

Director Ferdinando Cito Filomarino and cinematographer Sayombhu Mukdeeprom have worked together on Call Me By Your Name and Suspira. Ferdinando served as the second unit director on both films. Beckett is the second feature Ferdinando has written and directed. Sayombhu also shot Ferdinando’s first feature, Antonia, and was Oscar-nominated for his cinematography on Call Me By Your Name. Prior to his experience working with Ferdinando and director Luca Guadagnino, Sayombhu built his cinematography career in Thailand, shooting films such as the Cannes festival winner, Uncle Boonmee Who Can Recall His Past Lives directed by Apichatpong Weerasethakul.

Beckett is a thriller, reminiscent of Alfred Hitchcock films, starring John David Washington as an American vacationing in Greece with his girlfriend, played by Alicia Vikander. After a tragic accident, Beckett is pursued by the police and drawn into a political conspiracy while being chased across the country. Ferdinando intended to have the film nod at Hitchcock, but he wanted to stay away from the heightened, perfectly choreographed elements of Hitchcock movies such as North By Northwest, where every scene is a spectacle, with amazing set pieces following one after the other. For Beckett, Ferdinando liked the idea of shooting everything with very natural light, keeping the movie grounded and not quite so heightened. As a hero, Beckett is relatable and believable- when he fights or runs, he sweats, gets out of breath and becomes seriously injured, and all of the action sequences are grounded in reality.

Sayombhu enjoys shooting films using natural light, preferring to reshape or bounce sunlight. If he has to use lights, he uses as few as possible, and in a way that’s almost invisible. He also prefers to light the environment rather than the actor, to give them space to move around, so that they can live in the moment and he can capture it as it happens. When Sayombhu scouts locations, he uses his eyes and his gut feeling to explore the place and memorizes the kind of natural light available, noticing potential issues before figuring out how to overcome them.

To have a good rapport with a director, Sayombhu suggests listening to the director first, and only then make a suggestion that would make it better. Ferdinando enjoys collaborating with Sayombhu because they both understand the importance of preparation during pre-production and research, and they have similar taste in filmmaking and visual language.

You can watch Beckett on Netflix.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep138/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

August 10, 2021

Cinematographer Flavio Labiano on Jungle Cruise, Timecrimes, Day of the Beast, and more

Cinematographer Flavio Labiano doesn’t consider himself an artist with a capital “A” but more of a craftsperson. To him, cinematography is a craft that you learn by making mistakes and taking risks, like any other craft that you hone and improve over time.

On Disney’s Jungle Cruise, Flavio found the planning and pre-production stages of the huge-scale movie to be especially challenging. It was about 100 days of planning, with two different sets- one in Hawaii and one in Atlanta, Georgia, and with the second unit shooting footage in the Amazon to use as background plates. All the exterior tank work was done in front of a blue screen in a parking lot in Atlanta. The town of Porto Velho, where the jungle cruise adventure begins, was mainly shot in Hawaii. Flavio paid close attention to the orientation of the sun in order to match the set in Hawaii with the set in Atlanta. He also had to match the hard sunlight in the South to the sunlight in Hawaii, and the crew had to deal with the constant interruptions of summer afternoon rainstorms in Georgia. Flavio and Jungle Cruise director, Jaume Collet-Serra, have worked together on several films including The Shallows, another movie that takes place mostly in water.

Flavio grew up in Spain, then moved to Los Angeles to attend AFI. He found his first film jobs working for Roger Corman’s studio alongside Wally Pfister, Phedon Papamichael, and Janusz Kaminski. Flavio moved back to Spain for film work and has made most of his career there with movies such as The Day of the Beast, which was a huge commercial success in Spain, and Timecrimes, an exciting and mind-bending thriller. Shortly after Timecrimes, he and fellow Spaniard, director Jaume Collet-Serra began working together. Influenced by director Alfred Hitchcock, who enjoyed making thrillers with characters who are celebrities, the two made Nonstop and Unknown with Liam Neeson.

You can watch Jungle Cruise on Disney+

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep135/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

July 28, 2021

Cinematographer Adam Bricker on shooting the Emmy-nominated series Hacks, Chef’s Table and more

One of Adam Bricker’s favorite things about being a cinematographer is the opportunity to collaborate with different filmmakers, try something new and make each project the best it can be. His most recent project is the HBO Max comedy series Hacks, which just earned him an Emmy nomination for best cinematography. Adam was given the scripts for the first two episodes, and loved the pilot script, which opens with a long Steadicam single shot following behind the main character, Deborah Vance, played by Jean Smart, for two minutes, until her character is finally revealed in the dressing room vanity mirror. Adam knew it’s a rare thing to find a half-hour comedy with that level of cinema, and he was excited to shoot the show. Hacks takes place in Las Vegas, about a legendary comedian who is losing relevance and fading from the spotlight. Adam and show creator Lucia Aniello used vintage Las Vegas movies and photos as a reference point, as well as films such as Soderberg’s Behind The Candelabra and Judy with Renée Zellweger. Adam likes to set the look based on how the viewer is supposed to feel, and he makes notes in his scripts about what emotions should be felt in each scene. Most of Hacks is filmed on tripods and dollies, but for the verbal duels between characters Deborah Vance and Ava, her young comedy writer/protégé, Adam chose to shoot handheld, which gives those scenes more energy and naturalism. Lighting on the show goes from naturalistic, when Deborah is at home or when Ava is in Los Angeles, contrasted with vintage glamorous stage lighting when Deborah performs her comedy act.

Adam grew up in Chicago and attended film school there before attending the USC summer cinema program, which inspired him to transfer to USC and continue studying cinematography. After college, Adam began taking as many jobs as he could, and planned to work his way up through the camera department, before a DP mentor suggested he buy a camera and take as many cinematography jobs as possible. He and a group of friends invested in a Red One digital camera, and Adam shot dozens of music videos and low-budget films.

The Netflix series Chef’s Table has taken Adam all over the world. As one of the primary DPs of Chef’s Table, Adam and show creator David Gelb have established the artistic look of the modern cuisine documentary, which has since been imitated by countless other food shows. When the show began, Adam had never shot a documentary before, so he had a more cinematic approach to the show, only using prime lenses and no zoom lenses. For him, it’s been a dream job to explore new places, eat amazing food at excellent restaurants and work with good friends on the crew.

Find Adam Bricker: https://adambricker.com
Instagram: @realadambricker

You can see Hacks on HBO Max.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep133/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

June 30, 2021

Cinematographer Alice Brooks on shooting In The Heights, Home Before Dark, working with director Jon M. Chu

Alice Brooks grew up on Broadway musical theater and movies as a kid, and loves shooting music and dance oriented films and TV shows. Alice has always been in awe of dancers, and though she isn’t a dancer herself, she is inspired by their work ethic and loves that she can capture dance with her camera.

Working on In The Heights has fulfilled a lifelong dream for Alice. She and director Jon M. Chu have known each other since college at USC. The two bonded over musicals- she shot his she shot his student short, a musical called When The Kids Are Away in 2002 and worked together again on the film Jem and the Holograms. Alice and Jon were shooting the Apple TV+ series Home Before Dark when he asked her to shoot In The Heights. Jon, choreographer Christopher Scott and Alice had also worked together on a Hulu series called The LXD: The Legion of Extraordinary Dancers for three seasons, and they got used to working together and working quickly, figuring out how tell a story and develop characters through dance. Jon, Alice and Chris Scott felt their whole careers came together to make a musical like In The Heights. The characters’ hopes, dreams, fears and anxieties can be played out not only through song and dance but in the environment around them, which sometimes shifts to where they are emotionally.

With just 49 shoot days, preproduction for In The Heights was essential. Alice and Jon Chu would location scout in the mornings and then spend afternoons in the dance rehearsal space with Chris Scott. They would share their input and make suggestions from each location scout on how to face and orient the dance. Alice and Jon thought at first many more locations would be done on a soundstage, but they found that shooting in real places on the streets looked and felt so true- even the theater and the subway station were real locations. During shooting, every Sunday they would meet and go through the coming week because the schedule was so tight and the camerawork so complex, looking at videos from dance rehearsal to discuss the shots and angles to use, deciding if a crane shot was needed, and how many cameras to use for each scene. Jon made animatics detailing each scene from storyboards and dance rehearsal footage. With 17 song and dance scenes in In The Heights, Jon had huge goals for the musical numbers, and Alice, the dancers and the entire film crew were able to pull it off.

Alice grew up in New York and got into acting at a young age. She and her family then moved to Los Angles, and she realized as a teen that she did not want to be an actor. Being on set around the camera crew made her realize that she wanted to shoot movies, and that being a DP was her true dream. After graduating from USC Film School, Alice asked many of the graduate students if she could shoot their projects, knowing that the key to honing her craft was practice, practice, practice. She shot about 20 shorts, including Jon M. Chu’s musical short, When The Kids Are Away. Alice thinks it’s important to find the right people to work with, since you’re spending so much time together, and forming that bond helps everyone. She wants to make movies that inspire her daughter. For anyone with a family, it’s important to pick the projects that are worth it, since filming can take so much time away from loved ones.

Find Alice Brooks: https://www.alicebrooks.com/
Instagram: @_alicebrooks_

You can see In The Heights in theaters, the best place to experience the film’s immersive sound design and visuals. You can also find it streaming on HBO Max.

Alice’s new musical film directed by Lin-Manuel Miranda is tick, tick…Boom! releasing in the fall.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep130/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

May 19, 2021

Adam Somner, first assistant director, on Ridley Scott, Steven Spielberg, Martin Scorsese, Paul Thomas Anderson, Alejandro González Iñárritu, movies Black Hawk Down, War of the Worlds, The Wolf of Wall Street, The Revenant, and more

The job of the assistant director is to work in concert with the director and the DP to get everything done on a movie set. As a 1st AD, Adam Somner is trusted by the industry’s top directors to anticipate their needs, motivate the crew, figure out the schedule, and drive the entire production forward to finish each day on time. He finds the best way to keep everything moving smoothly on set is though humor, high energy and uniting everyone as a group, persuading people to do things on the schedule and timeline needed to complete the job.

Adam’s father, Basil Somner, worked for MGM Studios in England, and through him, Adam got a job as a runner/production assistant at age 17. He began working on movies in the late ’80’s, like Indiana Jones and the Last Crusade, Superman IV, and Who Framed Roger Rabbit? He worked under many assistant directors, observed how they took charge on set, and decided he was really interested in becoming an AD.

Adam has worked on eight Ridley Scott films to date, as well as several of the late Tony Scott’s films. He was first hired on a Ridley Scott film as a third assistant director on 1492: Conquest of Paradise and White Squall, then moved up to second assistant director on Gladiator, where he learned how to manage a huge crew of extras and background action from the 1st AD, Terry Needham. On Black Hawk Down, Adam was promoted to first assistant director for the second unit. Black Hawk Down was shooting in Morocco, and the second unit was responsible for most of the helicopter sequences, with lots of moving parts and extras, involving real Black Hawk helicopters and real U.S. military soldiers. After Black Hawk Down, Adam got the call to begin working with Steven Spielberg on War of the Worlds, where he quickly learned to read Spielberg’s mind and keep an eye on the details. He’s worked with Spielberg on ten films now, including Munich, Lincoln, and Ready Player One.

A 1st AD is responsible for coordinating most of the background action. Adam’s ability to work on big sets with lots of action, extras and special effects led director Paul Thomas Anderson to hire him for There Will Be Blood, and Anderson has since become a personal friend. Adam finds Anderson’s on-set approach to be very thoughtful and measured. Unlike the action-heavy films Adam has worked on, he knew it was important to keep the crew and background actors quiet and subdued on Anderson’s films with heavy dialog, such as The Master and Phantom Thread.

For The Wolf of Wall Street, Adam was thrilled to work with director Martin Scorsese. Scorsese and cinematographer Rodrigo Prieto had Adam sit in during their preproduction shotlisting process, so they were all thoroughly prepared. Scorsese loves shooting scenes with complex background action, and Adam delivered. He carefully rehearsed all the extras in different stages of panic as the brokers watched the stock market crash. For the famous in-flight orgy scene, Adam wasn’t totally sure how he wanted to deal with not just one sex scene, which is hard enough, but several at once. So he decided to hire a choreographer to help rehearse and plan all the action, making sure each background player knew exactly what they were doing and taking care that everyone was comfortable with their role in front of the camera.

Adam was excited to work with Alejandro González Iñárritu on some of Birdman, and as the 1st AD on one of the may units shooting The Revenant, where Iñárritu and the DP Emmanuel Lubezki “Chivo” wanted everything shot and rehearsed during magic hour. Rehearsals were incredibly important on both Birdman and The Revenant, since Iñárritu and Chivo shot many scenes in one single shot.

Adam is currently working on Killers of the Flower Moon with director Martin Scorsese.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep125/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

Website: www.camnoir.com
YouTube: https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

April 28, 2021

Dana Gonzales, ASC, director and cinematographer of Fargo and Legion, on creatively rich television, moving into directing, and more

Dana Gonzales, ASC loves pushing himself to use creative lighting, lenses and camera moves to transport the audience into the story. While working on the mind-bendingly surreal television series Legion and the cinematic, character-driven crime stories of the series Fargo, Dana found a true creative home with producer and showrunner Noah Hawley. With Hawley, Dana has been able to explore how to create and maintain an image that challenges himself and makes an audience feel differently than they’ve ever felt before. Audiences today are more sophisticated and crave good visuals and storytelling. Dana sees many of today’s television series leading the way in artistic expression, which is why huge actors and directors are getting involved. Writers can tell a 10-hour story, fully developing characters and plot, while the director and camera crew can build a world with a strong visual foundation to hold it up. Dana finds today’s TV is certainly still challenging- shooting on tight schedules requires staying sharp all the time, and strong visionary showrunners and producers keep everyone motivated.

For season four of the FX series Fargo, Dana shot three of the episodes and directed four, including the season finale. Being involved with Fargo since season one helped Dana confidently bring a point of view to the story. He thinks one of the most important aspects of directing is offering an interesting perspective that makes the most of the story, characters and tone. Working with cinematographers Erik Messerschmidt and Pete Konczal, they changed the look of the show to a small degree, using different lenses and framing, and departed from a strict adherence to the visual LUT of the first seasons. They instead decided on a Kodachrome look, which was also the first color film used in season four’s time period. The biggest challenge of season 4 was shooting the tornado sequence- partly shot in black and white as a callback to The Wizard of Oz, the complex storylines leading up to and in the aftermath of the tornado all had to seamlessly weave together.

As a kid, Dana grew up in L.A. He was always naturally attracted to cameras and began taking photos at a young age. He found jobs on film sets as a driver, set PA, loader and camera assistant, and worked his way up while shooting small side projects. Just working on low budget movies, where Dana was able to be bold and experiment, served as his film school. He maintains the philosophy that every single job needs to be an artistic statement better than the last one, with each script informing his approach differently. After several years working on features and television, Dana moved into directing, where he feels you’re even more the author of a show than as a cinematographer. He continues to enjoy working as both a cinematographer and as a director.

Dana loved working on the series Legion, where producer Noah Hawley gave him the freedom to be extremely bold and experimental. For Legion, Hawley wanted surreal, elevated images with beautiful and dramatic lighting, that both embraced and reimagined the comic book/graphic novel look. If they tried something and it didn’t work visually, they would simply reshoot it. Even though they had access to a visual effects team, Dana chose to build most practical effects in camera, such as stacking several filters onto the lens to create a super surreal look for some scenes, knowing he would be satisfied with the results instead of leaving it up to post production or visual effects to create his vision.

You can see season four of Fargo on FX and on Hulu.

Find Dana Gonzales: https://www.danagonzales.com/
Instagram: @dana_gonzales_asc

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep122/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

Website: www.camnoir.com
YouTube: https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

January 26, 2021

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

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: https://www.camnoir.com/ep26/

Find Quyen Tran: https://www.qtranfilms.com/
Instagram: @qgar

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep110/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Sponsored by Aputure: https://www.aputure.com/

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz