April 14, 2021

Matthew Libatique, ASC, PART 2: Tigerland, The Fountain, working with Spike Lee, Straight Outta Compton, Iron Man, A Star is Born

In Part 2 of our interview, we continue our conversation with cinematographer Matty Libatique.

After Pi, Matty couldn’t believe that such a small movie shot on 16mm black and white film opened so many doors for him. He began to get calls for large Hollywood movies, such as Tigerland with director Joel Schumacher. Schumacher, known for big-budget, glossy films like Batman and Robin, was looking for a new look for the gritty Vietnam training camp film, starring an up and coming Colin Farrell. Matty and Schumacher decided to shoot hand-held 16 mm for Tigerland so that it would amplify the anger, stress and pain of preparing for war.

Spike Lee’s film Do The Right Thing influenced Matty’s path to a career in cinema, and he had the honor to work with Lee on four films, including Inside Man. Matty found Lee’s approach to film to be incredibly unique. Lee would decide scenes with multiple cameras could become one camera done in one shot, or plan that a single camera scene should be done with multiple cameras and angles. Matty thinks that as a DP you are a collaborator and need to be present as a fellow filmmaker and not as a fanboy, so he resisted telling Lee that Do The Right Thing was the reason why he went into film. Matty also got the chance to work with another hero of his, director and cinematographer Ernest Dickerson, who shot Do The Right Thing, on the film Never Die Alone.

Matty teamed up again with director Darren Aronofsky on The Fountain, an incredibly surreal sci-fi love story that takes place across space and time. It was a big challenge for Matty to bring Aronofsky’s vision of The Fountain to life, bouncing ideas off Aronofsky’s astrophysicist collaborator, who described what other universes might look like. By contrast, their next movie together, Black Swan, was a stripped down thriller, focused on taught performances and choreography. Black Swan earned Matty his first Academy Award nomination for cinematography.

Surprisingly, working on the first Iron Man movie felt to Matty just like working on a giant independent film. With a comedic star like Robert Downey Jr. and an experienced comedic director like Jon Favereau, the two often reworked the script before shooting scenes. Matty had never worked on a project with such a large budget, and he helped create the look of the Marvel cinematic universe.

When Matty heard Straight Outta Compton was in developement, he immediately asked his agent for a meeting with director F. Gary Gray, because he was such a big fan of the hip-hop group NWA. The film is about the origins of NWA’s generation-defining album and the story of the band, but it was not a straightforward biopic, and Matty wanted to make sure the movie had the right look and feel for the era.

For 2018’s A Star is Born, starring Lady Gaga and Bradley Cooper, Matty and Cooper, who also directed the film, wanted to pay homage to the other two versions but Cooper’s take on the story was definitely different. They decided to feature more musical performance in their version, and early into shooting, Cooper changed the ending so that the main character, Jackson Maine, doesn’t die in a motorcycle accident. Matty found that Bradley Cooper has the ability to clearly explain what he sees in his imagination, and his acting experience enabled him to be aware of where the camera was positioned so he didn’t have to watch playback of his scenes.

Matty’s film, The Prom, can be streamed on Netflix. He is currently shooting the film, Don’t Worry Darling, directed by Olivia Wilde.

Hear Part 1 of our interview with Matty Libatique: https://www.camnoir.com/ep120/

Hear our 2019 interview with Matty Libatique: https://www.camnoir.com/ep33/

Find Matty Libatique: Instagram @libatique

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep121/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

April 6, 2021

Matthew Libatique, ASC, PART 1: The Prom, Pi, working with director Darren Aronofsky and his early career

Cinematographer Matty Libatique’s work ranges from mind-bending features like Pi, Black Swan and Requiem for a Dream to huge Marvel movies such as Iron Man and Birds of Prey. He enjoys balancing his work on both large films and smaller indies in order to feel satisfied and to keep his craft sharp.

For his latest film, The Prom, Matty met with director Ryan Murphy about the project. The star-studded cast and the message about gay acceptance appealed to him. But once Matty saw the Broadway play he was concerned- he had never shot a musical before, and he wasn’t quite sure how to translate a big Broadway musical into a movie. Matty had worked on several music videos and was the cinematographer of 2018’s A Star is Born, which featured musical performances, but it was incredibly gritty and grounded in reality compared to The Prom’s bubbly feel-good fantasy world. He and director Ryan Murphy met and knew they wanted to keep it big and colorful while not going too over the top. Murphy loves working with color, and the two decided The Prom had to feature two distinct palettes of colors- the yellow/browns of normal Indiana contrasted with the bright pastels of “the prom” and the theater people who descend on the town. For the final scene in the movie where all the characters go to the all-inclusive prom, Matty and his team utilized a full array of lights on stage that they programmed on the fly.

Growing up, Matty was always attracted to light, camera and composition in movies, but he didn’t understand what anybody did on a film set until he saw Do The Right Thing. The Spike Lee film made him realize he wanted to make movies. He went to AFI film school along with director Darren Aronofsky and the two bonded right away. They began making movies together in a partnership that continues today. Matty says of his long relationship with Darren Aronofsky that when you keep working with the same directors, it’s a sign you’re doing the right thing and dedicating your craft to the right ideas. Their first feature together, Pi, had to be created within the parameters of an incredibly low budget. Aronofsky couldn’t afford to shoot color film, only Super 16mm black and white reversal, so Pi had a grainy, gritty look and style immediately. A few scenes in Pi use a body-mounted rig to give it a first-person perspective. Matty and Aranofsky first saw the rig used by Icelandic cinematographers Eidur and Einar Snorri, now known as a Snorricam, and knew they wanted to use it in Pi- but the key was to use it sparingly.

Matty’s film, The Prom, is currently on Netflix. He is currently shooting the film, Don’t Worry Darling, directed by Olivia Wilde.

Hear our 2019 interview with Matty Libatique: https://www.camnoir.com/ep33/

Listen for Matty Libatique, Part 2, coming next week! He talks about Tigerland, The Fountain, working with Spike Lee, Iron Man and more.

Find Matty Libatique: Instagram @libatique

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep120/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

March 31, 2021

Cinematographer Maryse Alberti on Hillbilly Elegy, working with Ron Howard, Velvet Goldmine, Happiness, The Wrestler, Creed, documentaries, Michael Apted

Maryse Alberti is a very eclectic and prolific cinematographer, shooting documentaries, indie films, television shows, commercials and large films over the course of her career. She prefers films that deal with something real- they don’t have to revolutionize the world, but the characters have to be interesting and grounded in reality.

On her latest film, Hillbilly Elegy, Maryse and director Ron Howard discussed how to treat the different time periods and places in the film. They wanted to juxtapose the character of J.D. at Yale against rural Kentucky and Ohio, while also making the flashbacks to his childhood stand out. The early childhood scenes are color rich and shot handheld, while Maryse used a Steadicam and normal color saturation for the more sedate and polite atmosphere at Yale. Hillbilly Elegy is about strong characters, requiring committed performances from actors Glenn Close and Amy Adams. Maryse made sure to give the actors and director the space to immerse themselves by devising unobtrusive lighting, coming in from windows outside and using lamps on the inside. Her  documentary experience of keeping it simple and natural also translates to her narrative work, and she’s discovered that it is now second nature to find the best camera placement for a scene.

Growing up in the South of France, Maryse didn’t see many movies or television shows until she moved to New York as an au pair in the 1970’s. She also worked in the art world, and had jobs as a performance trapeze artist, musician, assistant on small film sets, and took photos as a hobby. In 1990, she shot her first feature length documentary, H2 Worker, an expose of working conditions in the Florida sugar cane industry, which won Best Cinematography at the Sundance Film Festival. The documentary launched her career as a cinematographer.

Maryse next worked with director Todd Haynes on several films including Poison and Velvet Goldmine. She jumped at the chance to work on the visually rich Velvet Goldmine, loosely based on David Bowie’s early career of the 70’s. At the time, Maryse had just finished working with Bowie on a Michael Apted documentary called Inspirations, and was a huge fan of the glam rock era. She and Haynes spent a great deal of time in pre-production and Maryse found his storyboards to be amazing works of art.

Maryse continued to work on indie films in the 1990’s, never shying away from difficult subject matter, such as the controversial Todd Solondz movie Happiness, which includes a storyline with a character who is a pedophile. Maryse found Happiness to be a tough movie since it was so out of the mainstream, dealing with volatile and sexual subject matter that would be almost impossible to find today. But in spite of it all, the crew found ways to have fun with some of the absurd special effects props for the film.

Director Darren Aronofsky wanted his film The Wrestler to be entirely hand-held. As a shorter woman, Maryse knew it would be difficult and physically demanding to shoot entirely herself, so they hired camera operator Peter Nolan. Maryse and Aronofsky decided to shoot the entire movie on a single 12mm lens. They committed to a naturalistic approach for shooting it and stuck to it. They used a real location for the wrestling ring, including the real wrestling crowd and real wrestlers.

After The Wrestler, Maryse was able to use some of what she learned to shoot Creed, with the exception of the crowd. Maryse kept the camera on the action the entire time, to emphasize that a boxer is truly alone in the ring, rather than relying on any reaction shots from the audience.

In her documentary career, Maryse has worked with director Alex Gibney on several films, such as The Armstong Lie, Enron: The Smartest Guys in the Room, and Taxi to the Dark Side. She also had the good fortune to work with the late documentarian Michael Apted on several films, such as Incident at Ogala and Moving the Mountain, about the student protests in Tiananmen Square in Beijing. The two grew to be good friends after working together for several years, and she found him incredibly smart, sharp and funny.

Maryse Alberti’s latest film, Hillbilly Elegy is streaming on Netflix.

Find Maryse Alberti: https://ddatalent.com/client/maryse-alberti-narrative
Instagram: @marysealberti

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep119/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

February 3, 2021

Director Ryan White and cinematographer John Benam on the documentary Assassins

When filmmaker Ryan White first heard about the murder of Kim Jong-nam, the half brother of North Korean leader Kim Jong-un in early 2017, he paid little attention to the story until a reporter called to let him know that it might make an interesting documentary. Kim Jong-nam was poisoned in the middle of a crowded Malaysian airport by two young women who smeared a highly poisonous nerve agent on his face. On the surface, these women seemed like bold, cold-blooded killers. But once Ryan and cinematographer John Benam flew to Malaysia to find out more about the story, they soon realized that the political assassination plot went deep, the women might be innocent, and were likely duped by North Korean operatives. The two women, Siti Aisyah and Doan Thi Huong, were put on trial for murder in Malaysia. Ryan was able to speak with their lawyers and eventually interview Siti and Doan. With help from the women’s defense lawyers, the Assassins editorial team painstakingly pieced together all the security footage from the airport and put together the entire sequence of events during the assassination. They were also able to see and use within the film many of the text messages the women exchanged with their handlers, which clearly pointed to their complete ignorance of what they were getting into.

Ryan feels Assassins became controversial and had trouble finding distribution not because of the political content, but because big online companies feared retribution, as occurred with Sony Pictures getting hacked by North Korea when they released the film The Interview.

Cinematographer John Benam has worked on several documentaries with director Ryan White, beginning with the the Netflix series The Keepers, about the murder of a nun and the cover-up of sexual abuse in the Baltimore Catholic Church. When John first decided to make a career out of filmmaking, he knew he wanted to stay in Baltimore, and started working in a camera shop during the switch from film to video. Luckily, Baltimore has a bit of a film industry and he was able to work locally on several TV shows, then got a job working for National Geographic shooting nature documentaries.

For Assassins, John and Ryan dove deep into Siti and Doan’s story, exploring where they came from and what brought them to Malaysia. They felt it was important to have the women tell their own story, and it required patience and sensitivity. John is a mission-oriented, emotional cinematographer, and shooting nature documentaries taught him the skill to sit still, keep a low profile, and watch a story unfold. John had to travel light and nimble, taking dozens of trips to Malaysia for the story over the course of two years while the trial was going on. He used two Canon EOS C300 Mark II cameras for shooting, because of its lightness and small size, staying under the radar from the general public. As he learned about the intricacies of the Malaysian legal system and shot the trial, John felt very emotional about the outcome of a guilty verdict for the women, which would mean execution by hanging.

You can watch Assassins streaming now in virtual cinemas: https://www.assassinsdoc.com

Find Ryan White: http://www.tripod-media.com/

Find John Benam: https://www.benamfilms.com/

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep111/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

January 10, 2021

Jake Swantko, DP and producer of The Dissident, on working with director Bryan Fogel and shooting the controversial documentary

Cinematographer Jake Swantko spoke with us last year at the Sundance Film Festival after the premiere of The Dissident, the documentary he shot with director Bryan Fogel. Jake and Bryan had previously collaborated on the Oscar-winning film, Icarus. The Dissident explores the assassination and international coverup of outspoken Washington Post journalist Jamal Khashoggi.

Once director Bryan Fogel learned more about the circumstances surrounding the death of Khashoggi, he knew this was another important- and dangerous- subject to film for his next documentary. Bryan took the idea to Jake, who also worked as a producer on the film, and they began the grueling process, traveling to Canada and Turkey multiple times to interview Khashoggi’s close friend and Saudi insurgent Omar Abdulaziz, speaking to Khashoggi’s fiancée Hatice Cengiz, spending a year digging into the case and meeting with the Turkish government. The Dissident team knew they had to have the cooperation of Turkey to shoot the story, since Khashoggi was murdered at the Saudi consulate in Istanbul, and they eventually scored an interview with Irfan Fidan, the chief prosecutor in Istanbul who investigated the murder. Since The Dissident was so huge in scope, Jake knew he wanted to elevate the production value of the film and shot it like a dark thriller. He set up most interviews formally instead of run-and-gun style, with three cameras and one on dolly track to push in on the subject’s face.

Despite being well received at Sundance, The Dissident struggled to find a distributor, even from Netflix, who had championed Icarus. Amazon Prime also would not buy the film, despite Jeff Bezos briefly being in The Dissident- Jamal Kashoggi wrote for his newspaper, The Washington Post and Bezos’ phone was hacked by Saudi Arabian government hackers. It seems the streaming services feared retaliation by the Saudi government and didn’t want to risk losing viewers in that market. Briarcliff Entertainment finally championed The Dissident, and it is currently available on VOD.

The Dissident is available to stream now on video on demand services. https://thedissident.com/

You can hear our past interview with Jake Swantko in 2018 talking to us about the Oscar winning documentary, Icarus. https://www.camnoir.com/special-swantko/

Find Jake Swantko: https://www.jakeswantko.com/
Instagram @swantko

IT’S A GIVEAWAY! Last week to 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/ep108/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

December 23, 2020

Bruce Van Dusen, director of over a thousand TV commercials, three films and a documentary, on his career and new book, 60 Stories about 30 Seconds

Director Bruce Van Dusen has had a long career making commercials, which is extremely rare. He’s discovered that making a good commercial is finding a balance between art and commerce, and the end product must be exactly what the client wants while getting the viewer to pay attention. Working in commercials doesn’t necessarily bring out the best in people- unlike a movie or TV show, there’s even less time and more pressure on a commercial shoot. The crew must gel instantly, work quickly and create a spot that’s going to be usable at the end of the day. A commercial director is in the unique position of not necessarily being completely in charge on set. The client is always present and is able to tell the director exactly what they want, even without any authority or experience. The director has to listen even if it seems stupid, or they get blamed for a bad result.

Straight out of film school, Bruce first wanted to make serious documentaries. He greatly admired Frederick Wiseman’s films, and Frederick happened to be listed in the phone book, so Bruce called him up. Frederick gave him a piece of advice- you’ll spend a lot of your time trying to raise money for your film rather than making the documentary. This set Bruce down a completely different path, and he decided he would do anything to get a job working in movies. He started working as a production assistant, and saw how much money some of the big names in the movie business made making commercials on the side. At age 23, he quickly found some local clients, started his own business in New York and established himself as the king of low-budget commercials by undercutting all the other directors’ rates.

Over time, Bruce became an established name, doing bigger and longer commercials, and he was able to find a niche in longer-format emotional commercial “stories” dealing with actors. Once he created a rapport working with the same clients, there was more trust, more art, and more confidence in his work. He finally made a documentary, The Surge: The Whole Story, and directed three films, including Cold Feet, a small 1983 indie that made it to the Sundance Film Festival. Most recently, besides writing a book about his experiences, Bruce made a spot for The Lincoln Project.

Find Bruce Van Dusen: https://www.brucevandusen.com/
Instagram: @brucevandusen1

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/ep105/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

December 16, 2020

Frederick Wiseman, acclaimed documentary filmmaker of City Hall, Titticut Follies, High School, Hospital, and more

Frederick Wiseman has proven that, in his words, “if you hang around long enough, you can collect enough material and cut a dramatic narrative film out of real life.” A Frederick Wiseman documentary has a very specific style- there is no narration, no identifying lower-third captions, no interviews and no camera movement. The viewer simply watches the story unfold, as a slice of life, and the subject he chooses is usually an institution many might consider mundane and everyday. Frederick feels his films are not merely observational, because he makes decisions on how to sculpt them into a narrative during the editing process. He enjoys making documentary films because he’s seen that there is enough comedy and drama in ordinary life to match anything you’d find in fiction. Frederick shies away from the terms “documentary” and “cinema verité”- he thinks the term movie is good enough because “documentary” is something that sounds like it’s supposed to be good for you.

For Frederick’s latest film, City Hall, he had the idea that what happens in a city hall might make an interesting movie and to see inside the machinery of how a city runs. Boston City Hall happened to be the only one that gave him permission. A staffer of the mayor had seen his films and liked the idea. Unlike some of Frederick’s other movies, Boston mayor Marty Walsh was a central character- mainly because he is the leader of the city and he is very involved in seeing that it runs smoothly.

Before he became a director, Frederick was a lawyer and taught at law school. He always wanted to be a director, but had no experience with movies. He saw an opportunity to become a producer when he optioned a novel called The Cool World and asked director Shirley Clark to helm it, which helped demystify the process for him. For his first documentary, Titticut Follies, Frederick had the idea for shooting the documentary on the Bridgewater Prison for the Criminally Insane because he knew the warden from his years as a lawyer and was able to get access and permission. The next logical progression to him after shooting in a prison for the insane seemed to be a high school, so his next film was High School. Part of Frederick’s process is to find the film as he shoots, and he goes into it purposefully blind and with little preparation. For him, it all emerges in the editing process. Frederick always does his own editing and watches each piece of footage-generally about 150 hours of it- and decides how to structure each sequence.

Find Frederick Wiseman: http://www.zipporah.com/

See Frederick Wiseman’s latest documentary, City Hall. It’s available streaming through virtual cinemas, and comes to PBS on December 22. Find a screening near you. Paying to stream it through your local arthouse cinema helps support them!

You can see almost all of Wiseman’s documentaries on Kanopy for free with your library card.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep105/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

November 11, 2020

Iris Ng, documentary cinematographer of Stories We Tell, Shirkers, Making a Murderer, and more

As primarily a documentary cinematographer, Iris Ng always asks where the camera should be at a given moment and how is it supposed to behave. She approaches a project asking about the perspective- is it supposed to be deeply personal, from within the lived experience of the person it’s about, or more observational and objective, from the outside looking in?

Quite a few of the documentaries Iris has worked on are deeply personal stories. Her first big feature was on fellow Canadian Sarah Polley’s film, Stories We Tell. The film integrated Sarah’s family home movies, shot on Super 8, into contemporary interviews with Sarah’s family members, and reenactments shot on Super 8 with actors in 70’s and 80’s era costumes. Iris ended up using several Super 8 cameras to shoot with, since the film cartridges are so short and the cameras had to be constantly swapped out and reloaded. Stories We Tell required a great deal of sensitivity as each person told their story of Sarah’s mother, Diane, a charismatic actor with many secrets who passed away in 1990. The documentary was critically acclaimed and received an Oscar nomination.

Iris took a similar approach to the documentary Shirkers. Like Stories We Tell, Shirkers uses personal excavations and film material from the past to examine it for answers. As a teen, writer/director Sandi Tan and her friends had made an indie film in Singapore called Shirkers. Their film teacher disappeared with all the footage once shooting had wrapped, and Sandi wanted to tell the story about tracking down what happened to the film through interviews with friends while going back to retrace the experience. They chose interesting setups and locations for interviews, and Iris would often turn the camera on Sandi to capture her reactions as she was reliving her past.

For the Netflix documentary series Making A Murderer, Iris had a different challenge. Iris came to the project on year nine of filmmakers Laura Ricciardi and Moira Demos’ ten year process of shooting the series, and used her artistic eye to help elevate and add to the the previously shot footage. Each of the two seasons was 10 episodes long, so it was a matter of ensuring that there was enough coverage and angles, such as the exteriors of the Manitowoc County Courthouse for the filmmakers to work with.

Iris Ng is currently shooting more narrative projects, such as the web series Hey Lady for CBC Gem.

Find Iris Ng: http://iriscinematography.com/
Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep100/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

August 10, 2020

Director Ron Howard and DP Lincoln Else on the documentary Rebuilding Paradise

Oscar-winning director Ron Howard talks about directing his first documentary, Rebuilding Paradise, about the devastating Camp fire that completely wiped out the town of Paradise, California on November 8, 2018. The film follows the people in community over time as they deal with the tragedy and begin rebuilding. Directing a documentary was a new experience for Ron, and he felt a personal connection to the town- his mother-in-law had lived in Paradise. Ron Howard and Brian Grazer’s production company, Imagine, had wanted to start producing documentaries and they sent out a crew to begin shooting just one week after the fire. Ron picked up some new skills while working on the unscripted project. He had to learn how to let the cameras follow the flow of the conversation, and to be minimalist in covering every possible angle. The experience has led him to make directorial choices in his scripted work that are more verité. Director of photography Lincoln Else worked closely with Ron and the Imagine production team, and developed a unified visual language for Rebuilding Paradise that he communicated with the other shooters. Lincoln learned documentary filmmaking at an early age, loading 16mm mags and assisting his father, documentarian and professor Jon Else. He likes a very simple hand-held style, opting to just put a camera on his shoulder in order to be as reactive as possible. Though footage from many different news sources and people’s personal videos was used, the bulk of the interview content in Rebuilding Paradise was “fly on the wall” style.

See Rebuilding Paradise online and support your local theater! https://films.nationalgeographic.com/rebuilding-paradise#screenings

Find Ron Howard: https://imagine-entertainment.com/
Instagram @realronhoward
Twitter: @realronhoward

Find Lincoln Else: http://www.novusselect.com/
https://lincolnelse.com/
Instagram: @lincolnelse

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep86/

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

July 27, 2020

War Stories Vol. 3: Tales from the Set featuring Laura Merians Gonçalves, Seamus McGarvey, Charles Papert, Charlotte Bruus Christensen, Mike Dallatorre, James Laxton, Jaron Presant, Don Morgan, Roman Vas’yanov, Benoît Delhomme, and Thorsten Thielow

Special: The Cinematography Podcast- War Stories Vol. 3

In this super-sized War Stories Special, we feature eleven of our guest’s harrowing, hilarious or heartwarming stories of an experience they had while on set or when starting out in the film industry. Find full interviews with each of our featured cinematographers in our archives at www.camnoir.com or wherever you get your podcasts.

Cinematographer Laura Merians Gonçalves tells of a scary experience while shooting Pacified in the gritty favelas of Brazil, Seamus McGarvey on his first time using a Super 8 movie camera in film school, Charles Papert talks about working with Eddie Izzard on a grueling TV pilot, Charlotte Bruus Christensen’s story of shooting The Hunt with director Thomas Vinterberg almost entirely handheld while pregnant, Mike Dallatorre on dealing with the Mexican federales while working on Quantum of Solace, James Laxton’s early experience as a loader for an Errol Morris-directed commercial, Jaron Presant tells a funny story about making a huge error as a set PA, Don Morgan on getting hired because of a mistaken film credit, Roman Vas’yanov tells about his entirely too-real experience while shooting in the hood for End of Watch, Benoît Delhomme talks about crew issues while shooting The Proposition in the Australian outback, and documentary filmmaker Thorsten Thielow’s experience of shooting during an actual war.

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/warstories3/

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