March 10, 2020

Jakob Ihre, FSF: Chernobyl cinematographer on shooting the incredible HBO series, his early career, working with director Joachim Trier

Jakob Ihre believes that making movies is very personal, and it’s important to create a connection to the material that the audience can feel. He graduated from the National Film and Television School in London knowing that he wanted to do smaller, quality projects that told personal stories. Jakob collaborated with fellow NFTS graduate Joachim Trier on several films, including Reprise, Louder Than Bombs, Oslo, August 31 and Thelma. The 2015 film, The End of the Tour, about writer David Foster Wallace, marked the Swedish cinematographer’s first English language movie.

The HBO TV series Chernobyl came to Jakob through the series’ director, Johan Renck. The two were friends but had not had the chance to work together. Writer and creator Craig Mazin had a completed 600-page script, and once Jakob read it, he knew he had to work on the project. The story was so gripping and mesmerizing, everyone involved felt a calling to tell the story in a way that was solemn about the material and accurate about what it looked like. Chernobyl shot for eight months in Lithuania and Ukraine and has won multiple awards.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep66/

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By Illya Friedman

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January 7, 2020

DP Paula Huidobro on Barry, Tallulah, working with Bill Hader, Emmanuel Lubezki, and Norman Lear

Paula Huidoboro first became drawn to telling a story with images as a young teen while taking photography classes at the local museum of modern art. One of her early learning experiences was as a camera intern for well-known cinematographer “Chivo” Emmanuel Lubezki. Paula was thrilled to work with actor/creator Bill Hader on finding the balance between violence and comedy on the HBO hitman/dark comedy “Barry.”

By Illya Friedman

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December 30, 2019

Walt Lloyd, ASC on Sex, Lies, and Videotape, Kafka, Short Cuts, The Hitcher, The Perfect Storm, Pump Up the Volume, Empire Records, Alien Raiders, and much more

Walt Lloyd happened upon John Boorman’s crew shooting Deliverance in Georgia and decided he wanted a job in the movie business. His first big break was as a camera assistant on the 1983 film Never Cry Wolf, directed by Carroll Ballard. One of Walt’s earliest films as director of photography was on sex, lies and videotape for first-time feature filmmaker Steven Soderbergh. Host Ben Rock and Walt Lloyd also have a personal connection- Walt was the DP for Ben’s feature film, Alien Raiders.

By Illya Friedman

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December 24, 2019

Alik Sakharov, DP turned director, on Game of Thrones, House of Cards, The Sopranos, Ozark, and the director/DP relationship

Alik Sakharov shot many feature films and television series such as The Sopranos, Rome, and Game of Thrones before moving into the director’s chair. Alik feels cinematography, directing and writing must work together to create a story, and it’s difficult to separate one from the other. He is currently executive producer of the Netflix series The Witcher.

By Illya Friedman

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December 16, 2019

Phedon Papamichael, ASC talks Ford v. Ferrari, his love of racing and classic cars, working with director James Mangold

Phedon Papamichael and director James Mangold created an exciting, visceral experience of auto racing for Ford v. Ferrari, rather than the basic panning wide shots used in sports broadcasting or car commercials. Phedon had to shoot extremely close to the speeding cars in order to capture the effect of high velocity.

By Illya Friedman

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December 9, 2019

Lawrence Sher, ASC, talks about creating the look of Joker with director Todd Phillips

When setting out to make Joker, Lawrence Sher and director Todd Phillips decided to go for an intimate, 70’s style of movie that’s character-driven, rather than the large scale, elaborate looks typical of today’s comic book superhero/villain films. Joaquin Phoenix had some leeway to improvise and play with the character. Larry and Todd Phillips’ background of working with comedians on movies such as The Hangover made them feel comfortable with improvisation.

By Illya Friedman

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December 3, 2019

M. David Mullen, ASC: Emmy-winning cinematographer for The Marvelous Mrs. Maisel, films Twin Falls Idaho, Northfork, and more

David Mullen got his start making straight-to-video low-budget genre movies. He went on to shoot six films with Michael and Mark Polish, including Twin Falls Idaho and Northfork. David’s cinematography on the Amazon show The Marvelous Mrs. Maisel recently earned him an Emmy award. Season 3 of The Marvelous Mrs. Maisel begins December 6th on Amazon Prime.

By Illya Friedman

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November 25, 2019

Rodrigo Prieto, ASC: Oscar-nominated cinematographer for Silence and Brokeback Mountain, talks Martin Scorsese, The Irishman, The Wolf of Wall Street, Amores Perros, Argo and more

Rodrigo Prieto has shot many different movies with numerous looks and feelings. The Irishman is Rodrigo’s third collaboration with Martin Scorsese, who has always been a huge inspiration for him, and it was also an amazing experience working with such skilled actors on the film.

By Illya Friedman

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November 18, 2019

Mihai Mălaimare Jr.- DP of Jojo Rabbit, The Master, The Hate U Give, Youth Without Youth on working with Taika Waititi, Francis Ford Coppola, Paul Thomas Anderson

Cinematographer Mihai Mălaimare Jr. discusses his experience of shooting three films with Francis Ford Coppola and working with Paul Thomas Anderson on The Master. For his most recent film, Jojo Rabbit, Mehai and director Taika Waititi developed a very vibrant and colorful look for the film to emphasize Jojo’s fantasy world.

By Illya Friedman

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November 11, 2019

Mike Figgis, Oscar-nominated director of Leaving Las Vegas, Timecode, Internal Affairs, Somebody Up There Likes Me

Writer/Director/Composer/Photographer and experimental filmmaker Mike Figgis has never restricted his art to just one medium. In our interview, he discusses his love of filmmaking and his transition to digital after Leaving Las Vegas with the film Timecode.

By Illya Friedman

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