October 9, 2020

War Stories Vol. 4: Tales from the Set featuring Quyen Tran, Mike Figgis, Dan Laustsen, Abe Martinez, Bill Wages, Larry Fong, Vanja Černjul, Rachel Morrison, Linus Sandgren, Stefan Ciupek, Matty Libatique

Special: The Cinematography Podcast- War Stories Vol. 4

In our fourth War Stories Special, we feature eleven guest’s harrowing, hilarious or heartwarming stories they had while on set, or a formative career experience that led them to cinematography.

Find full interviews with each of our featured cinematographers in our archives!

Cinematographer Quyen Tran on her life-changing experience after 9/11 in New York; Mike Figgis and a nearly disastrous screening of Timecode; Dan Laustsen tells the story of how his sister influenced him to go to film school; Abe Martinez serendipitously found the perfect house while staying in Kenya; Bill Wages was dissuaded early on from becoming a National Geographic Magazine photographer; Larry Fong talks about getting his big break with JJ Abrams on Lost; Vanja Černjul on his secret to decompressing after wrapping on a big shoot; Rachel Morrison’s story of making a huge mistake as a set P.A. with Matty Libatique; Linus Sandgren on his early days working as a gaffer with a seasoned electrician; Stefan Ciupek talks about the blooper in the single-take film, Russian Ark; and finally, Matty Libatique on getting real concert footage for A Star Is Born.

Do you have a War Story you’d like to share? Send us an email or reach out to us on Facebook, Twitter, or Instagram!

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/warstories4/

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

June 5, 2019

Ep 36 – Dan Laustsen, ASC, DFF – The Oscar Nominated Cinematographer of Shape of Water, Dives into John Wick 3, Shooting Film and His Career

Acclaimed Danish cinematographer Dan Laustsen talks to Illya about working with Guillermo del Toro on The Shape of Water, Crimson Peak and Mimic.  Del Toro’s frequent collaborator discusses the ease of shooting digital cinema now vs. the old days of relying on a lab to process the film correctly.  For the John Wick films, lens choices and tricks played a big part in how he and director Chad Stahelski accomplished a flare effect on the films.  In John Wick-Chapter 3- Parabellum, Dan discusses shooting mainly at night and created a glistening, rainy look.