August 12, 2025

Cinematographer Matt Ball’s recipe for Tucci in Italy

The Cinematography Podcast Episode 320: Cinematographer Matt Ball

For cinematographer Matt Ball, shooting the National Geographic five part documentary series Tucci in Italy was a delightful experience. Tucci in Italy follows actor Stanley Tucci as he explores his Italian heritage, delving into regions rich in food and culture. “A big part of the success of the show is obviously Stan, but Stan wants to do it,” says Matt of Stanley Tucci. “Nobody necessarily loves getting up for work on a Monday morning. But getting up for work on a Monday morning in Italy and going to wonderful places, you know you’re going to do something interesting. And it’s the fact that people want to do it for their job that makes it so much easier.”

As a light-hearted, fun and engaging host, Tucci’s fluency in Italian and passion for the culture drove him to explore lesser-known stories, foods, and areas of Italy. With 20 distinct regions, each person in Italy has a unique identity attached to their home. Matt’s favorite location was the Carrera mountains in Tuscany, where the famous Carrera marble is mined. “The culture of Italy, I have such a deep love for that country from doing the show,” says Matt. “Everything about it, from the food to the scenery, everything affects you as you’re doing it. I mean, some of it is mind-bogglingly beautiful.”

While Stanley Tucci himself didn’t need a translator, the crew needed a little help. A translator spoke into an earpiece so the crew could follow the story closely and know what to capture. Matt used four cameras and a drone to capture the beauty of the region. To avoid asking subjects to repeat actions, one camera was always dedicated to shooting the food.

Scouting and pre-planning was key for the vision Matt had for the look of the show. Tucci in Italy is beautifully composed, without feeling formal, and uses very natural lighting. At each location, Matt and the director would take about 30 minutes to walk through the location to find the best spots for interviews, without compromising the story or the documentary nature. The most important goal was to make the interviewees feel at ease, with the cameras as unobtrusive as possible. Even if it meant shooting in a tiny, dark kitchen, the crew would do so to ensure the authenticity of the documentary. The Italians would also choose the right place to eat, usually out of the direct sun and in a comfortable situation. The hardest part of the job was often the heat, as much of the work was outdoors and shot handheld.

Find Matt Ball: https://mattballcamera.com/
Instagram: @mattbcam

Matt Ball has been nominated for Outstanding Cinematography for a Nonfiction Program for Tucci in Italy for the “Tuscany” episode.
See Tucci in Italy on Nat Geo on Disney+. The series has been renewed for a second season.

Sponsored by Hot Rod Cameras: https://hotrodcameras.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: @TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Blue Sky: @thecinepod.bsky.social

By Illya Friedman

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In Cinematography Podcast, Latest Posts, Podcast Episodes

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July 3, 2024

BONUS EPISODE: Fancy Dance director Erica Tremblay and DP Carolina Costa

In case you missed it, we’re reposting our 2023 Sundance interview with Fancy Dance director/writer Erica Tremblay and cinematographer Carolina Costa, AMC. Fancy Dance is now available in select theaters and streaming on AppleTV+.

Fancy Dance follows Jax (Lily Gladstone), a Native American woman on Oklahoma’s Seneca-Cayuga reservation. When her sister Tawi vanishes mysteriously, Jax becomes guardian to her niece Roki. Their search for Tawi is met with indifference from law enforcement. Facing financial hardship, Jax resorts to petty crimes that threaten custody of Roki, who’s placed with her non-Indigenous grandparents. Determined to keep a promise and celebrate their heritage, Jax takes Roki on a daring journey to the state powwow, hoping to find answers about Tawi’s fate and to give Roki the opportunity to perform the traditional dance she and her mother practiced together.

Fancy Dance director and writer Erica Tremblay and cinematographer Carolina Costa met when Erica was searching for a DP and Carolina was on a short list. Carolina loved the script, and saw the film was special just from reading the page- she could see all the visuals in her mind, and felt it was important to see these characters come alive on the big screen. She decided to keep the lighting natural and didn’t use many additional lights. They wanted the film to feel specific to the topography of Oklahoma in the summer- a hot, humid time, when the sky is a washed-out blue. Erica and Carolina had several conversations about what the film would look and feel like, including using natural moonlight to represent Tawi, the missing sister and mother. The moon is a symbol of matrilineal kinship which is vital to the Native American community.

One of the biggest challenges facing director Erica Tremblay was finding financing for Fancy Dance. It was hard to convince the right people to fund a film whose main character is an abrasive, lawless, queer indigenous woman. Erica grew up in the Seneca Cayuga nation, and drew upon characters she knew. She wanted her script to reflect the issues faced by Native Americans today, especially the crisis of missing and murdered indigenous women who are never found. But she also includes humor, loving family connections and the celebration of joyous culture at the powwow. Erica was also a writer on the acclaimed FX series, Reservation Dogs.

Fancy Dance is available now in theaters and on AppleTV+

Find Erica Tremblay: Instagram @ericajtremblay

Find Carolina Costa: Instagram @ccostacine

Find Fancy Dance: Instagram #fancydancemovie

Sponsored by Hot Rod Cameras www.hotrodcameras.com

The Cinematography Podcast website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

By Illya Friedman

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In Cinematography Podcast, Latest Posts, Podcast Episodes

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