May 8, 2024

Late Night with the Devil cinematographer Matthew Temple, ACS

The critically acclaimed horror movie Late Night With the Devil blends found-footage, mockumentary and 1970s late-night television into a movie with genuine scares. Cinematographer Matthew Temple, ACS used shaky camerawork, close-ups, and multiple video sources to add to the feeling of watching “behind the scenes” documentary found footage. Though they didn’t use vintage tube cameras for the 1970’s TV look, Matt and the camera operators used studio pedestal bases or a crane for the cameras. “Right from the get-go, (directors Cameron and Colin Cairnes) came at me with this word, ‘verisimilitude,’ which means to make something feel real.” says Matt. “And that was kind of the seed for the television show.”

During the preproduction period on Late Night with the Devil, the Cairnes brothers gave Matt a lookbook that they’d created referencing documentaries from the time. Matt had honed his craft on Australian TV shows like Comedy Inc., a sketch comedy show that spoofed movies and TV shows. He learned how to deconstruct a movie and replicate a specific look. Matt used the same approach for the film and watched several late night talk shows from the 1970’s to get the visual aesthetic right. As he learned and took notes, Matt made an extensive document setting out rules for the camera crew to follow to keep the look authentic. Using the studio pedestal bases and cranes were key, with Sony Venice cameras in 4K mode with Fujinon zooms. “We had three pedestal cameras. They were new Venices, but nonetheless they were on pedestals. Each operator had to do their own focus and zoom and trucking up the pedestals in shot. I was careful to hire two camera operators who really knew what they were doing with studio cameras because the last time I did that was 35 years ago.” Matt himself acted as the third camera operator. He would brief the other camera operators in preproduction, break down the scene, and map out how all the cameras would work together. It was critical that the cameras always have a logic and placement and appear to be moving together.

Growing up in Australia, Matt was impressed with the Australian movie Mad Max as a teenager. After studying some photography and stage production, he got a trainee job at ABC Television in Sydney. He slowly worked his way up as an assistant, operator, Steadicam operator and DP in Australian television. Late Night with the Devil is Matt’s first feature film as a cinematographer. He previously worked with directors Cameron and Colin Cairnes as a Steadicam operator on their first feature, 100 Bloody Acres. Matt thinks Australia is its own independent film and TV powerhouse because of their ability to innovate and work with very small budgets.

Find Matthew Temple: https://www.matthewtemple.com.au/
Instagram @dpwolfie

Late Night with the Devil is still playing in some theaters and is available on Shudder and VOD. https://www.latenightwiththedevil.movie/

Sponsored by Hot Rod Cameras www.hotrodcameras.com
Sponsored by ARRI: https://www.arri.com/en

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

June 14, 2023

Abbott Elementary, The Office, Parks and Recreation director, producer and cinematographer Randall Einhorn

Multihyphenate producer-director-cinematographer and all around talented guy Randall Einhorn is currently the executive producer and director of the award-winning ABC show, Abbott Elementary. Randall began his career in series television first as the DP of The Office, then became one of the most frequent directors of the series. He got to know the mockumentary style intimately, and carried it onto many other shows such as Parks and Recreation, The Muppets, and Modern Family.

Quinta Brunson, show creator and star of Abbott Elementary, was a huge fan of The Office and pitched her idea to executive producers Randall Einhorn and Patrick Schumacker. Randall immediately knew that the mockumentary format would work well as they followed the everyday drama of teachers in an underprivileged elementary school in Philadelphia. They began shooting the pilot in August 2021, working with kids who were mostly non-actors and hadn’t been inside a classroom for an entire year due to COVID. Working with kids made everything harder, but also made everything better, and Randall emphasized that they would have a good time every day. The children were so happy and excited to see each other and to be in a classroom, even if it was a set.

On Abbott Elementary, Randall wanted the teachers to be treated like heroes, so they chose to use ARRI cameras and Angenieux Optimo Zoom lenses. The classrooms look inviting, with wood, warm earth tones and bright light coming in from the windows. By contrast, on The Office they would “dirty up” the frame to make it seem more spontaneous, as though something unexpected was actually caught. Randall would pan to someone, purposely defocus, then bring the actor into focus, to make it seem as though it was just caught. For Abbott Elementary, the camera crew keeps everything mostly in focus, but they will make a conscious effort to keep a piece of doorway in the shot, for example, to imply that people are having a private moment with the cameras hanging back. Randall feels that there’s an honesty to using a long lens and backing up so it would look like the actors are having an intimate conversation.

Randall naturally developed his mockumentary shooting style after working on reality and extreme sports shows. Executive producer Ben Silverman saw his work and thought his verite style would work well for The Office. Randall met with executive producer Greg Daniels, and they hit it off. Since he’d never worked on scripted shows before, Randall broke lots of rules that were considered “normal” for series television on The Office, such as operating himself and pulling his own focus. Blocking and planning the camera placement ahead of time was also essential- the camera crew would never put a camera where it couldn’t or wouldn’t be. He also figured out how to add to the improvisational comedy through the camera’s movement and focus. Randall would keep one eye on the eyepiece and another on the actors to see who was going to improv. He’d lean in with the camera on an actor, stepping in closer to make a moment even more awkward. Unlike the British version of The Office, which was always carefully rehearsed, they would just shoot the scenes and reactions, in true documentary style.

Randall’s company, Sad Unicorn, has a multi-year first look deal at Warner Bros. and he will continue executive producing and directing Abbott Elementary.

Abbot Elementary is in its second season on ABC and Hulu, and season three will likely be delayed due to the writers strike.

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

June 22, 2022

Director Jim Archer, actors and writers David Earl and Chris Hayward on the offbeat film, Brian and Charles

Brian and Charles is about an awkward and lonely inventor, Brian, who lives in rural Wales. He rarely makes contraptions that are useful or work right, but one day, he finally creates a robot. Charles Petrescu, built out of an old washing machine and a mannequin, becomes Brian’s friend. But as Charles becomes more and more curious and self-aware, he decides he wants to explore the world on his own.

Actor David Earl is a comedian and came up with the eccentric character of Brian as a bit on the stand up circuit in the UK. One day on an internet radio call in show, a friend called in to interact with David’s character using computer voice simulation software. Fellow actor and comedian Chris Hayward heard it, came up with the idea of Charles as Brian’s robot sidekick, and the two took it on the road as a live show. Chris built the Charles robot character as a costume, and another friend would type in what Charles would say into the voice simulator to interact with the audience. In 2017, the two teamed up with director Jim Archer to make a short film about the characters, and it did well at festivals. After that, the UK production company Film4 backed developing the script into a feature film.

For the feature version of Brian and Charles, director Jim Archer decided to expand on the mockumentary style. He wanted it to look like a real documentary, with a serious dramatic and cinematic look rather than as a wink and a nod to other mockumentaries. The friends were inspired by the documentaries American Movie and Monster Road – true stories about lonely people desperate for their dream to come true.

Brian and Charles premiered at the 2022 Sundance Film Festival and is currently playing in theaters. https://www.focusfeatures.com/brian-and-charles/watch/

Jim Archer: Instagram & Twitter: @alrightjim

David Earl: Instagram @davidearlhello

Chris Hayward: https://www.curtisbrown.co.uk/client/chris-hayward

Charles Petrescu has his own twitter account: @CharlesPetrescu

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep173/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Arri: https://www.arri.com/en

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz