March 6, 2026

James Whitaker: Good Luck Have Fun Don’t Die’s visual chaos

The Cinematography Podcast Episode 349: James Whitaker, ASC

Good Luck, Have Fun, Don’t Die DP James Whitaker, ASC played with different genres, with over 70 setups a day in the Norm’s diner set. He used LED walls and projectors to cast real, interactive light on the characters in the film’s climax, and swapped to a different camera system for certain scenes to play up the glow of cell phones.

Key Podcast Highlights:
-Shooting the opening sequence of the film in a set replica of Norm’s Diner
-How director Gore Verbinski’s complex, hand-drawn storyboards allowed the crew to maintain a “ballet-like” precision during Rockwell’s complex physical performances.
-Using LED walls and projectors to cast real, interactive light on the characters in the film’s climax
-Swapping to a Sony Venice 2 when the cell phone light source wasn’t strong enough in some scenes

Find James Whitaker: Instagram @jameswhitaker_dop
See Good Luck, Have Fun, Don’t Die in theaters
See James’ most recent series, DTF St. Louis, on HBO Max
See Patriot on Amazon Prime
Hear our recent interview with Nicole Whitaker: https://www.camnoir.com/ep338/

SHOW RUNDOWN:
02:05 Close Focus
12:14-01:00:49 James Whitaker Interview
01:01:30 Short ends
01:06:46 Wrap up/Credits

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

February 27, 2026

Danny Cohen, BSC: Slow Horses ‘dirty London’ cinematography

The Cinematography Podcast Episode 348: Danny Cohen, BSC

DP Danny Cohen, BSC, reveals how he crafted the “dirty London” look of Slow Horses through motivated lighting, high ASA grain, and the grit of Slough House.

Key Podcast Highlights:
-How Slow Horses ditches the typical block shooting system, with one DP and one director to create the entire season’s visual look.
-Using camera settings to bake in noise and deep, inky blacks for that signature London grit.
-Shooting with 2–3 cameras, which allows for weird, accidental angles that a single camera would never catch.
-Why Danny bans traditional backlighting and soft fill to keep his characters trapped—and embedded—in their murky environments.
– A look at the multi-story Slough House sets that let actors and cameras move through floors without ever hitting a fake wall.

Find Danny Cohen: http://wwwb.co.uk/

See Slow Horses on Apple TV.

SHOW RUNDOWN:
02:23 Close Focus
13:41-51:27 Danny Cohen Interview
51:53 Short ends
01:03:18 Wrap up/Credits

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