January 12, 2021

Tami Reiker, ASC on One Night in Miami, working with director Regina King, The Old Guard, early career on High Art, Pieces of April

Tami Reiker, ASC focuses on how to make beautiful, authentic performances while maintaining the director’s vision. Her most recent film, One Night in Miami, is full of amazing performances. Directed by Academy Award winning actress Regina King, One Night in Miami is based on real events, when Malcolm X, Muhammad Ali, Sam Cooke and Jim Brown met in a hotel room to celebrate Ali’s fight victory over Sonny Liston. The film is based on a play by Kemp Powers, which presented a challenge for Tami since most of it takes place in one hotel room and it’s almost entirely dialog. All the actors had very busy schedules, so she and Regina King had only four days for rehearsal. King had very specific ideas about the type of film she wanted to make, and they planned the blocking and the shots together. It was also important for King for Tami to reproduce some of the scenes from historic reference photos, such as the original Hampton House hotel, Cassius Clay working out in the swimming pool, the diner, and the fight scenes. To give One Night in Miami a less static feel, Tami kept the camera moving, hiding some in walls on the set and using a jib arm, keeping her shots fluid so that the camera feels like a fly on the wall during the men’s conversations. Tami chose an Alexa 65 and used Prime DNA lenses with Bronze Glimmerglass to give the movie a vintage look.

Growing up, Tami was always interested in photography. She attended NYU film school, where she worked on several student films and met director Lisa Cholodenko, with whom she later shot the film High Art. The 1990’s to the early 2000’s was the heyday of indie filmmaking and with the advent of digital cinema, Tami was excited to be involved with independent production companies such as InDigEnt, which produced Pieces of April in 2003 starring Katie Holmes. InDigEnt’s business model allowed each person on the crew to own a percentage of the movie. Tami shot the film on a mini DV camera, and she still gets a residual check for Pieces of April today.

One Night in Miami can be seen at drive in theaters in Los Angeles and is available to stream on Friday, January 15 on Amazon Prime.

Find Tami Reiker: http://www.ddatalent.com/client/tami-reiker-asc
Instagram: @tamireiker123

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep109/

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

January 5, 2021

Best Of 2020 featuring Bradford Young, Kira Kelly, Greig Fraser, Anthony Dod Mantle, Wally Pfister, Brendan Davis, Don Coscarelli, Frederick Wiseman, Iris Ng, Bruce Van Dusen, Julie Taymor and Ron Howard

In our first-ever Best Of compilation episode, we have a dozen clips of listener favorites from 2020 and some of our selects as well.

Cinematographer Bradford Young goes deep into his filmmaking philosophy and influences, such as on Selma; Kira Kelly talks about making the documentary 13th with director Ava DuVernay; Greig Fraser on Lion, Star Wars and The Mandalorian; Anthony Dod Mantle describes exploring New York City for The Undoing; Wally Pfister on his early career working on Roger Corman movies; Brendan Davis on leaving China as the pandemic hit; director Don Coscarelli remembers working with cinematographer John Alcott on The Beastmaster; legendary documentarian Frederick Wiseman talks about his process of assembling his films; cinematographer Iris Ng on making documentaries that are personal narratives; commercial director Bruce Van Dusen tells an anecdote from an Ex-Lax commercial; director Julie Taymor on the visual language of The Glorias; and finally director Ron Howard on directing the documentary Rebuilding Paradise versus his approach to narrative films.

Be sure to check out the full episodes, and let us know what you think!

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/bestof2020/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

December 30, 2020

Erik Messerschmidt, ASC: Mank, Mindhunter, Legion, Raised By Wolves, working with David Fincher

Erik Messerschmidt, ASC believes that cinematographers get too much credit for how a movie looks and not enough for how the story is told. When you break a scene apart and assemble a sequence, the cinematographer has a huge part to play in the process of deciding when to move the camera, what lenses are used, how it flows and when it moves. Erik thinks when you look at it that way, cinematography has a lot more in common with editing rather than photography.

Erik’s most recent project, Mank- which is currently streaming on Netflix- was shot entirely in black and white. The look was the result of lots of conversations with director David Fincher. They both had a clear idea of what they wanted it to look like and also exactly what they did not want- too much heavy handed, contrast-heavy black and white cinematography in a film-noir style would take the viewers out of the experience, so it needed a lighter touch. Erik used fine art photography from the ’30’s to the mid ’40’s as a reference, and he and David Fincher wanted an homage to Citizen Kane without it actually looking like the film. Fincher was clear that he wished to transport the audience so they would lose their awareness of watching a black and white movie, and feel as though they are in the world of Herman J. Mankiewicz as he writes the script for Citizen Kane in the 1940’s.

Erik has worked with director David Fincher on several projects, first working as a gaffer on Gone Girl, then moving into the camera department on the series Mindhunter. Erik and David have become very close collaborators, and he enjoys working with him. Fincher likes a sense of hyper reality to his movies, and Erik sees it as his job as the cinematographer to learn what the director responds to, figure out how best to support their process and bring something to the party.

Before moving into the camera department, Erik worked for several years as a gaffer. After working with David Fincher on two seasons of Mindhunter, Erik needed more work since he was a newly minted director of photography. He got the opportunity to shoot second unit on Sicario: Day of the Soledado with cinematographer Dariusz Wolski as the lead DP. He then worked on a few episodes of the TV series Legion with producer/director Noah Hawley and DP-turned-director Dana Gonzales, which was visually fun to work on. Legion’s look was whimsical yet dark, as it explored the main character’s mental illness and possible superpowers. He had the opportunity to work with Dana again on the finale of season four of Fargo. Erik also shot several episodes of the Ridley Scott series, Raised By Wolves, splitting the series with DP Ross Emery.

Mank is available to watch right now on Netflix.

Find Erik Messerschmidt: Instagram @emesserschmidt

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/ep107/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
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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
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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

December 9, 2020

Anthony Dod Mantle, Academy Award winning cinematographer on the HBO series The Undoing, 28 Days Later, Slumdog Millionaire, Rush, Danny Boyle, Lars von Trier and more

Cinematographer Anthony Dod Mantle, ASC, BSC, DFF thinks most cinematographers start out hoping and praying that the right script would come along that will spark a great film. His most recent project, the HBO series The Undoing, features New York as a central character in the story and explores the upper echelons of wealth.

While Anthony loves the film format, he’s become known for his pioneering style with digital cameras after working with directors Lars von Trier, Thomas Vinterberg and Harmony Korine, who all embraced the Dogme 95 film aesthetic. The collective set out to make films strictly with story, acting and theme, without the use of big budgets or special effects.

Anthony had tried and tested many different digital cameras when Danny Boyle called him to shoot his film, 28 Days Later. Boyle and Anthony decided to shoot the zombie movie with the Canon XL1. Using such a small format digital camera takes advantage of the stuttering effect of the shutter, and it was easy to multi-shoot with the tiny camera and the equally minuscule indie art film budget.

Slumdog Millionaire is widely known to be the first digitally shot movie to win an Oscar for cinematography. Anthony had spent a good amount of time in Mumbai, and his familiarity and ease with the city helped him and director Danny Boyle move quickly and react to a large cast of non-actors.

Anthony also brought his experience to the film Rush. He had been a fan of Formula One racing ever since childhood, and he loved working with director Ron Howard, who came to him with an open heart and a collaborative spirit, since Howard had to learn about the sport. Rush was extremely technically complicated and was mainly shot with only practical effects.

You can watch The Undoing on HBO Max. https://www.hbo.com/the-undoing

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep104/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
And
Aputure: https://www.aputure.com/
Website: www.camnoir.com
Facebook: @cinepod
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Twitter: @ShortEndz

December 2, 2020

Charlotte Bruus Christensen: Black Narcissus series director and cinematographer on doing both jobs, shooting A Quiet Place and The Banker

When Charlotte Bruus Christensen was approached to direct the three part series Black Narcissus, she was doubtful at first. The original 1947 film won an Academy Award for Best Cinematography, and she was very aware of the film and did not want to remake it. But when producer and writer Amanda Coe suggested she read the original novel Black Narcissus, Charlotte was drawn to the story and saw it as not remaking the movie, but rather reinterpreting the book 70 years later with a 2020 mindset. Charlotte originally wanted to direct the series and collaborate with a DP, but as she delved more into the project, she knew how she wanted to interpret the story, how scenes should be lit and framed, and she realized that she wanted to both direct, be director of photography, and operate the camera. Even before she thought about directing, Charlotte always read scripts with a focus on performance and discussed scenes with the director to better understand where to place the camera. She feels she was most influenced by working with directors who take on multiple roles, such as actor and directors Denzel Washington and John Krasinski and writer/director Aaron Sorkin. Charlotte feels being behind the camera while directing brings the actors and the camera closer, capturing the performances as one, and she had a very skilled and supportive crew.

Charlotte knew Emily Blunt and John Krasinski from The Girl on the Train, and was excited to shoot the horror movie A Quiet Place, because she had never worked in that genre before. To prepare, Charlotte studied many classic horror movies, such as Jaws and The Exorcist to get an idea of the visual language: the slower the camera moves, the more creepy and suspenseful the film becomes. It was important to her to maintain and protect the heart of the story, which is the fragile family relationship as they try to survive an alien invasion.

The Banker, starring Anthony Mackie and Samuel L. Jackson, is based on the true story of two property investors who happen to be African American men in the 1960’s. They concoct risky plans to accomplish their dream in the time of segregation and redlining. Charlotte wanted to portray the partners’ wealth growing through the properties they bought, such as shooting large rooms to show the ceiling height. She liked working with director George Nolfi and appreciated the humor and positive message of the film.

Charlotte Bruus Christensen: Instagram @charlottebruuschristensen

We’ve been lucky enough to have Charlotte on our show twice! Check out our past interview with Charlotte Bruus Christensen: https://camnoir.com/ep17-2/

See Black Narcissus, airing on FX on Hulu: https://www.fxnetworks.com/shows/black-narcissus

See The Banker on Apple TV+

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep103/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

November 24, 2020

Wally Pfister, director/cinematographer PART 2: Inception, Moneyball, The Dark Knight Rises, winning an Oscar, moving into directing, and listener questions

We continue our conversation with Oscar winning cinematographer Wally Pfister- don’t miss Part 1.

When much of the film world was going digital, Christopher Nolan and Wally began to experiment with large-format IMAX cameras. They had used the IMAX format for some of the visual tricks on The Prestige, and Wally was excited to try shooting more on The Dark Knight and The Dark Knight Rises. Wally did lots of tests with lighting and specially created IMAX lenses, which have a massive frame and shallow depth of field.

Just after The Dark Knight, Wally was hired to DP Moneyball with director Bennett Miller. He decided to take a more dramatic and moody approach for lighting the baseball games, rather than using conventional, flat stadium lighting. After doing some tests, he was able to convince Miller that the scenes still looked like a baseball stadium, only better.

Once Wally saw the script for Inception, he knew there would be several logistical challenges: shooting hand-held chase scenes in the snow, and of course, the rotating hallway scene. Christopher Nolan still preferred to do most of what was seen on-screen in camera, as a practical effect rather than with computer generated VFX added later. Nolan wanted a James Bond aesthetic for the film, with naturalistic lighting and a loose, hand-held feel. It was Wally and Nolan’s sixth film as a team, so it was easy to work together during pre-production, even while working out the most technical scenes. A huge rotating rig was built for the famous gravity-defying hallway scene. Wally installed practical lighting into the rotating cylindrical set, with one camera affixed to the floor, so it does not appear to rotate, and a second camera that rotated with the set.

Wally won the Academy Award for Best Cinematography for Inception, after being nominated four times. It was a huge honor, and he was very proud of his work on the film. Once he’d won, it changed his life- so much so, he decided to move into directing. He directed his first feature film, Trancendence, starring Johnny Depp and executive produced by Nolan. It was a huge challenge for him to let go of being in control of the photography and to find the right DP and a good camera operator. Since directing Trancendence, Wally has enjoyed directing commercials. But on set, he’ll still act as director of photography, lighting the sets, and directing the actors and the camera operator while watching on the monitors.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep102/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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

November 18, 2020

Wally Pfister, director/cinematographer PART 1: working with Christopher Nolan, Memento, Insomnia, Batman Begins, The Prestige and more

Wally Pfister grew up loving movies, and couldn’t wait to become a filmmaker. The son of an ABC news journalist, Wally got his start as a news production assistant in Los Angeles, and he worked his way up to become a news cameraman. He attended American Film Institute, where he met fellow filmmakers Janusz Kaminski and Phedon Papamichael. Together they began working for Roger Corman’s Concorde/New Horizons production company based in Venice, CA, cranking out as many as twelve B-movies per year. Wally would leave the studio literally splattered in fake blood, but he knew low-budget filmmaking work was essential for having the freedom to learn lighting and shooting while on the job. Even with his prestigious degree from AFI, Wally knew it didn’t make him a filmmaker- he still needed to learn and hone his craft before moving on to bigger projects. Those opportunities came once Phedon Papamichael brought him on as a camera operator for Phenomenon and While You Were Sleeping.

Wally loved the independent films of the 1990’s, and was happy to work as director of photography for The Hi-Line, a well-received indie feature that won awards at several film festivals. Director Christopher Nolan saw the film, and approached Wally to shoot Memento. Memento blends black and white with color cinematography, to show the main character’s broken memory as he tries to piece together who killed his wife. Nolan had purposefully scripted it so that the color sequences shown in the film are in reverse order while the black and white scenes are chronological. Wally and Chris Nolan both preferred taking a naturalistic approach to lighting and camerawork, and Wally’s experience of working fast enabled them to shoot in just 25 days.

Insomnia was a big jump for Wally and Christopher Nolan into a bigger budget movie, especially with stars such as Al Pacino and Robin Williams attached. This time, Wally had the budget, the time and the ability to make a great movie. Insomnia uses light rather than darkness as a way to build tension- it takes place in midsummer Alaska, when the sun never sets. Wally used key lighting in certain scenes to enhance the performance of Pacino, whose detective character is quite literally hiding from the light, as his guilt and exhaustion spirals down into madness.

The next project Christopher Nolan and Wally collaborated on was a huge Hollywood movie: Batman Begins, which relaunched the Batman franchise after nearly ten years. Even though Batman is a superhero/comic book movie, Nolan still wanted to take a gritty and naturalistic approach- he never wanted the cinematography to get in the way. Wally kept the movie dark and rough, rather than glossy and stylized in contrast to the previous Batman movies. Very little of Batman Begins used computer generated visual effects- Chris Nolan prefers to do all effects in-camera when possible and used models and miniatures, as in the train derailment sequence.

For The Prestige, the production crew scouted locations in Los Angeles, and found old theaters and the Universal backlot to make it seem like Europe at the turn of the century. Again, Nolan wanted The Prestige to look natural and loose, with much of the film hand-held, even when Wally was on a crane. Wally used lanterns and natural light to illuminate most scenes, and every magic trick was done in-camera, with no special effects. The Prestige earned Wally his first Academy Award nomination.

Listen for Wally Pfister, Part 2, coming next week! He talks about Inception, Moneyball, The Dark Knight Rises, Trancendence and more!

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep101/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

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