May 12, 2021

Seamus McGarvey, ASC on HBO’s The Nevers, Flying Saucer Rock ‘n’ Roll, Bad Times at the El Royale, Harry Dean Stanton, Oliver Stone and more

Seamus McGarvey is drawn to character-driven stories and loves how the camera studies the face in a very particular way. Even when shooting action-packed shows such as The Nevers, Marvel’s The Avengers, or the Oliver Stone film, World Trade Center, Seamus stays focused on the characters and uses a naturalistic approach to his composition.

The Nevers was Seamus’ first extensive experience working on a television series. He had only shot TV episodes here and there, such as “Nosedive,” a favorite episode of Black Mirror, starring Bryce Dallas Howard. For Seamus, shooting a television series was a much faster production schedule and made him think with economy. The Nevers creator Joss Whedon wanted the show to have a contemporary edge, but set in Victorian times, about people known as “The Touched” who suddenly develop supernatural, superhero-like abilities. Fortunately, they had a long preproduction prep time for the action-packed series, which made for a close-knit, collaborative and well-prepared crew. Seamus also worked closely with the second unit, who shot the numerous stunts in The Nevers. He was also able to use some old-school camera tricks for Primrose, a character who’s a giant. Seamus had to double the actor’s actual height with forced perspective, used a slightly slow-motion camera, and the aid of some special effects, making sure that the lighting stayed consistent between the normal-sized shots and the giant shots.

From an early age, cinema as an art form always fascinated Seamus. He was excited to work on a tiny throwback short film in the late 1990’s called Flying Saucer Rock ‘n’ Roll, which is a spoof of black and white sci-fi B movies. It’s still his favorite film, because it’s so full of invention, charm and joy. Seamus went back home to shoot it in Ireland, even after he’d already established his career with several feature films, and they shot it for no money. Steven Spielberg even saw it, loved it, and invited the director, Enda Hughes to meet with him to develop something at Amblin.

Seamus also enjoyed working with director and writer Drew Goddard on Bad Times at the El Royale. The set for the movies was completely built from scratch, which enabled the crew to build in practical light sources and be involved in the design from the beginning. The camera was able to move all over the set and look in all directions. Bad Times is a mystery puzzle movie that all fits together in the end, and Seamus used many visual cues of double images, mirrors and the camera peering through the lattice work to hint at all the character’s hidden secrets.

Because of his love of natural photography, Seamus also enjoys shooting documentaries, such as Harry Dean Stanton: Partly Fiction, about the legendary actor Harry Dean Stanton. He occasionally uses documentary sensibilities in narrative film as well. In We Need To Talk About Kevin, director Lynn Ramsay and Seamus went with actor Tilda Swinton’s idea to spontaneously shoot in the rain as part of a flashback scene.

Seamus is currently in post-production on Cyrano, his latest production with director Joe Wright.
You can see The Nevers streaming on HBOMax. https://www.hbo.com/the-nevers

Find Seamus on Instagram @seamiemc & Twitter:@mcseamus

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep124/
Hear our previous interview with Seamus McGarvey: https://www.camnoir.com/ep37/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com
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Facebook: @cinepod
Instagram: @thecinepod
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By Illya Friedman

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In Cinematography Podcast, Latest Posts, Podcast Episodes

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April 23, 2021

Bonus Episode: The Truffle Hunters documentary filmmakers Michael Dweck and Gregory Kershaw

In case you missed it, we are re-releasing our interview with filmmakers Michael Dweck and Gregory Kershaw on their documentary, The Truffle Hunters from 2020’s Sundance Film Festival. The film recently received the ASC Documentary Award.

Filmmakers Michael Dweck and Gregory Kershaw ventured deep in the forests near Alba, Italy for their documentary, The Truffle Hunters. This region is known for its rare white truffles, fetching thousands of dollars for the acclaimed delicacy. The methods of where and how to find truffles is a closely guarded secret. This small group of elderly men seek them in darkness, hiking for miles with their dogs and covering their tracks so no one knows where they go. The film is beautifully composed and uses mostly natural light. The filmmakers chose to keep the camera on a tripod and to observe the subjects at a distance, except for special leather harness rigs for POV doggy-cams that Dweck and Kershaw had specially made.

You can find The Truffle Hunters in select theaters and available to rent on video on demand in the coming weeks. https://www.sonyclassics.com/film/thetrufflehunters/
Instagram: @thetrufflehuntersfilm
Find Michael Dweck: Twitter @michaeldweck Instagram @michaeldweckstudio
Find Gregory Kershaw: Instagram @gregorykershaw

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

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Website: www.camnoir.com
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By Illya Friedman

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In Cinematography Podcast, Latest Posts, Podcast Episodes, Special Episode

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March 24, 2021

Dariusz Wolski, ASC on News of the World, working with Paul Greengrass, music videos, The Crow, Dark City, Pirates of the Caribbean, and more

Cinematographer Dariusz Wolski prefers to take a realistic, documentary approach to most of the movies he shoots. His latest film, the western News of the World, is primarily shot outside using natural light, in a style Dariusz likes to call “well-observed” documentary. As with many of director Paul Greengrass’s films, News of the World relies on a Steadicam and hand-held cameras to give it a more realistic and intimate feel. Daruisz watched a few Westerns to get ideas for his approach to News of the World, such as The Searchers and The Assassination of Jesse James by the Coward Robert Ford.

Dariusz got his start after film school shooting music videos back in the 1980’s and 90’s, such as Suzanne Vega’s “My Name is Luka.”  One of his influences was the late cinematographer Harris Sevides, whose approach to music videos for Madonna and R.E.M. was softer and more cinematic. Daruisz and several future icons of cinema were all working on music videos at the time, and he worked with directors David Fincher, Alex Proyas and Gore Verbinski. They all wanted to make movies and were just making music videos to stay employed. As trained filmmakers, Dariusz feels they elevated the music video to an art, bringing a film sensibility to it with longer shots and cinematic lighting.

Though Daruisz found it hard to break into film at first, his work on music videos and commercials eventually got him there. Director Alex Proyas hired Dariusz as director of photography for the films Romeo is Bleeding, The Crow, and Dark City. The two used a dark and gritty music video aesthetic for shooting 1994’s The Crow. Tragically, star Brandon Lee was killed by a faulty blank bullet during filming and the movie was finished without him, using early face replacement digital technology. For Dark City, Dariusz’s next film with Proyas, he was influenced by films such as Metropolis and German expressionist art. He used sodium vapor lights on the set, which created a very orange and surreal glow. To add to the sickly green colors in the film, they decided not to use the correct fluorescent tubes in the automat scenes, or color correct the result.

Dariusz went on to work with director Gore Verbinski on The Mexican and Pirates of the Caribbean. At the time, Pirates was anything but a sure thing. It was up against the biggest stigma in Hollywood- every pirate movie that had been made up until that point was a huge flop. Plus, the character Captain Jack Sparrow was a complete antihero, and though Johnny Depp was a known actor, he wasn’t yet a huge movie star. After shooting several Pirates movies, Dariusz went on to work with Tim Burton on Sweeney Todd and Alice in Wonderland, then with Ridley Scott on Prometheus , The Martian, and Raised By Wolves, all science fiction movies or series that are heavy on special effects. For Dariusz, even if a film is science fiction, it needs to feel as though it is grounded in its own reality, so it was important to be in constant communication with the VFX supervisor to figure out how they would collaborate on set.

News of the World is playing in some theaters and is available to stream on VOD.

Find Dariusz Wolski: @dariusz_wolski_official

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep118/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com
YouTube: https://www.youtube.com/channel/UCNQIhe3yjQJG72EjZJBRI1w
Facebook: @cinepod
Instagram: @thecinepod
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By Illya Friedman

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March 17, 2021

Tommy Maddox-Upshaw, ASC on Snowfall, working with the late John Singleton, Spike Lee, Straight Outta Compton, Tales, Kalushi and more

Tommy Maddox-Upshaw, ASC uses light and color to help emphasize the drama and power of each scene on the FX series Snowfall. He enjoys putting opposing colors in the scenes to subtly suggest any underlying subtext and shifts in power between the characters. Tommy knows that understanding light and knowing how to photograph dark skin is important in a series revolving around primarily African American and Latino characters. Snowfall, created by the late John Singleton, is a period drama that takes place in 1980’s Los Angeles during the height of the crack cocaine epidemic. For Tommy, Snowfall feels personal after growing up in the 1980’s and 90’s in the inner city neighborhood of Mattapan in Boston. Mattapan got the nickname of “Murderpan,” and crack addiction personally affected his own family.

As the lead cinematographer on season four of Snowfall, Tommy reads each script, meets with the showrunners, and even goes into the writer’s room to talk to them about the subtext in certain scenes to devise a color schematic for each storyline. He develops an idea of his approach and watching the blocking on set allows him to try different things. Snowfall is pretty collaborative- John Singleton helped develop an African American cultural understanding on set, often taking suggestions from people’s lived experiences. Tommy says many cultural nuances come from behind the lens, and Black actors, crew members, and people from the neighborhood make the show.

Tommy first got into the business as a production assistant in New York, moving up to grip/electric while going to college in Massachusetts. He started working with Spike Lee on commercials as a gaffer and as an operator on Lee’s miniseries, When the Levees Broke. After attending AFI (American Film Institute), Tommy met fellow cinematographer and mentor Matty Libatique, who brought him on to Iron Man 2 and Straight Outta Compton. Tommy went on to shoot Kalushi: The Story of Solomon Mahlangu in South Africa, and television series such as Tales, On My Block and Empire. Several years ago, Spike Lee had introduced Tommy to John Singleton at Singleton’s birthday party. Singleton stayed in touch and later saw Tommy’s work on the BET anthology series Tales, and approached him to shoot Snowfall.

You can see Snowfall on FX on Hulu. https://www.fxnetworks.com/shows/snowfall

Find Tommy Maddox-Upshaw: http://www.maddoxdp.com/
Instagram: @themaddoxdp

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep117/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

By Illya Friedman

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February 1, 2021

BONUS Episode: Director and cinematographer John Bailey, ASC on Groundhog Day, Ordinary People, and his past tenure as president of the Academy of Motion Picture Arts and Sciences

It’s Groundhog Day! Director and cinematographer John Bailey, ASC sat down with us before the pandemic to discuss his work on the film, Groundhog Day, and briefly touched on his other work.

John Bailey feels that the screenplay is the most important part of a film. It can be a leap of faith to work with a first time director, when they don’t have a body of work, so a good script is always a solid starting point. As the DP of Ordinary People, John noticed the craftsmanship of that particular screenplay, which was carefully written and structured for several years by screenwriter Alvin Sargent and first-time director Robert Redford. He knew right away it would become a meaningful and important film. Both Sargent and Redford won Academy Awards for their work as screenwriter and director, respectively, and Ordinary People won the Best Picture Oscar.

Groundhog Day grabbed John immediately as an interesting and offbeat idea for a film, but no one guessed that it would actually become part of the film canon and popular culture. To this day, John is surprised when people tell him how much they like that film and how much it has touched people. The movie famously had its own chaos, since star Bill Murray and director Harold Ramis had a very combative relationship on set.

John spent two years as the president of the Academy of Motion Picture Arts and Sciences. His passion was in furthering the Academy Film Archive, the Margaret Herrick Library, and other AMPAS charitable projects. He became frustrated with the industry’s focus on the Academy’s role in the Oscars and how much punditry went into how to fix the awards process.

Currently, John continues to work as a cinematographer and director.

You can watch Groundhog Day all day long on Feb. 2 on AMC, or stream it (for a fee) on Amazon, Sling TV, or YouTube.

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

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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In Cinematography Podcast, Latest Posts, Podcast Episodes, Special Episode

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January 12, 2021

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 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: http://www.ddatalent.com/client/tami-reiker-asc
Instagram: @tamireiker123

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep109/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

By Illya Friedman

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December 30, 2020

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

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. https://www.facebook.com/cinepod

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep107/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

By Illya Friedman

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December 9, 2020

Anthony Dod Mantle, Academy Award winning cinematographer on the HBO series The Undoing, 28 Days Later, Slumdog Millionaire, Rush, Danny Boyle, Lars von Trier and more

Cinematographer Anthony Dod Mantle, ASC, BSC, DFF thinks most cinematographers start out hoping and praying that the right script would come along that will spark a great film. His most recent project, the HBO series The Undoing, features New York as a central character in the story and explores the upper echelons of wealth.

While Anthony loves the film format, he’s become known for his pioneering style with digital cameras after working with directors Lars von Trier, Thomas Vinterberg and Harmony Korine, who all embraced the Dogme 95 film aesthetic. The collective set out to make films strictly with story, acting and theme, without the use of big budgets or special effects.

Anthony had tried and tested many different digital cameras when Danny Boyle called him to shoot his film, 28 Days Later. Boyle and Anthony decided to shoot the zombie movie with the Canon XL1. Using such a small format digital camera takes advantage of the stuttering effect of the shutter, and it was easy to multi-shoot with the tiny camera and the equally minuscule indie art film budget.

Slumdog Millionaire is widely known to be the first digitally shot movie to win an Oscar for cinematography. Anthony had spent a good amount of time in Mumbai, and his familiarity and ease with the city helped him and director Danny Boyle move quickly and react to a large cast of non-actors.

Anthony also brought his experience to the film Rush. He had been a fan of Formula One racing ever since childhood, and he loved working with director Ron Howard, who came to him with an open heart and a collaborative spirit, since Howard had to learn about the sport. Rush was extremely technically complicated and was mainly shot with only practical effects.

You can watch The Undoing on HBO Max. https://www.hbo.com/the-undoing

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep104/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
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Aputure: https://www.aputure.com/
Website: www.camnoir.com
Facebook: @cinepod
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By Illya Friedman

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November 24, 2020

Wally Pfister, director/cinematographer PART 2: Inception, Moneyball, The Dark Knight Rises, winning an Oscar, moving into directing, and listener questions

We continue our conversation with Oscar winning cinematographer Wally Pfister- don’t miss Part 1.

When much of the film world was going digital, Christopher Nolan and Wally began to experiment with large-format IMAX cameras. They had used the IMAX format for some of the visual tricks on The Prestige, and Wally was excited to try shooting more on The Dark Knight and The Dark Knight Rises. Wally did lots of tests with lighting and specially created IMAX lenses, which have a massive frame and shallow depth of field.

Just after The Dark Knight, Wally was hired to DP Moneyball with director Bennett Miller. He decided to take a more dramatic and moody approach for lighting the baseball games, rather than using conventional, flat stadium lighting. After doing some tests, he was able to convince Miller that the scenes still looked like a baseball stadium, only better.

Once Wally saw the script for Inception, he knew there would be several logistical challenges: shooting hand-held chase scenes in the snow, and of course, the rotating hallway scene. Christopher Nolan still preferred to do most of what was seen on-screen in camera, as a practical effect rather than with computer generated VFX added later. Nolan wanted a James Bond aesthetic for the film, with naturalistic lighting and a loose, hand-held feel. It was Wally and Nolan’s sixth film as a team, so it was easy to work together during pre-production, even while working out the most technical scenes. A huge rotating rig was built for the famous gravity-defying hallway scene. Wally installed practical lighting into the rotating cylindrical set, with one camera affixed to the floor, so it does not appear to rotate, and a second camera that rotated with the set.

Wally won the Academy Award for Best Cinematography for Inception, after being nominated four times. It was a huge honor, and he was very proud of his work on the film. Once he’d won, it changed his life- so much so, he decided to move into directing. He directed his first feature film, Trancendence, starring Johnny Depp and executive produced by Nolan. It was a huge challenge for him to let go of being in control of the photography and to find the right DP and a good camera operator. Since directing Trancendence, Wally has enjoyed directing commercials. But on set, he’ll still act as director of photography, lighting the sets, and directing the actors and the camera operator while watching on the monitors.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep102/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

By Illya Friedman

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November 18, 2020

Wally Pfister, director/cinematographer PART 1: working with Christopher Nolan, Memento, Insomnia, Batman Begins, The Prestige and more

Wally Pfister grew up loving movies, and couldn’t wait to become a filmmaker. The son of an ABC news journalist, Wally got his start as a news production assistant in Los Angeles, and he worked his way up to become a news cameraman. He attended American Film Institute, where he met fellow filmmakers Janusz Kaminski and Phedon Papamichael. Together they began working for Roger Corman’s Concorde/New Horizons production company based in Venice, CA, cranking out as many as twelve B-movies per year. Wally would leave the studio literally splattered in fake blood, but he knew low-budget filmmaking work was essential for having the freedom to learn lighting and shooting while on the job. Even with his prestigious degree from AFI, Wally knew it didn’t make him a filmmaker- he still needed to learn and hone his craft before moving on to bigger projects. Those opportunities came once Phedon Papamichael brought him on as a camera operator for Phenomenon and While You Were Sleeping.

Wally loved the independent films of the 1990’s, and was happy to work as director of photography for The Hi-Line, a well-received indie feature that won awards at several film festivals. Director Christopher Nolan saw the film, and approached Wally to shoot Memento. Memento blends black and white with color cinematography, to show the main character’s broken memory as he tries to piece together who killed his wife. Nolan had purposefully scripted it so that the color sequences shown in the film are in reverse order while the black and white scenes are chronological. Wally and Chris Nolan both preferred taking a naturalistic approach to lighting and camerawork, and Wally’s experience of working fast enabled them to shoot in just 25 days.

Insomnia was a big jump for Wally and Christopher Nolan into a bigger budget movie, especially with stars such as Al Pacino and Robin Williams attached. This time, Wally had the budget, the time and the ability to make a great movie. Insomnia uses light rather than darkness as a way to build tension- it takes place in midsummer Alaska, when the sun never sets. Wally used key lighting in certain scenes to enhance the performance of Pacino, whose detective character is quite literally hiding from the light, as his guilt and exhaustion spirals down into madness.

The next project Christopher Nolan and Wally collaborated on was a huge Hollywood movie: Batman Begins, which relaunched the Batman franchise after nearly ten years. Even though Batman is a superhero/comic book movie, Nolan still wanted to take a gritty and naturalistic approach- he never wanted the cinematography to get in the way. Wally kept the movie dark and rough, rather than glossy and stylized in contrast to the previous Batman movies. Very little of Batman Begins used computer generated visual effects- Chris Nolan prefers to do all effects in-camera when possible and used models and miniatures, as in the train derailment sequence.

For The Prestige, the production crew scouted locations in Los Angeles, and found old theaters and the Universal backlot to make it seem like Europe at the turn of the century. Again, Nolan wanted The Prestige to look natural and loose, with much of the film hand-held, even when Wally was on a crane. Wally used lanterns and natural light to illuminate most scenes, and every magic trick was done in-camera, with no special effects. The Prestige earned Wally his first Academy Award nomination.

Listen for Wally Pfister, Part 2, coming next week! He talks about Inception, Moneyball, The Dark Knight Rises, Trancendence and more!

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep101/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

By Illya Friedman

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