EPISODE 79 - HARRY GRUYAERT - Still Photographer Team Deakins speaks with the acclaimed stills photographer Harry Gruyaert. What a great conversation! We learn that when he started, he directed and shot for Flemish TV and he explains why he changed his path and became a stills photographer. He shares the importance of intuition in his work and finding your own way of seeing and style. We love what he does with color so we speak a lot about color and how he uses it, and he speaks of when he would use B&W over color. He also goes into detail about his early work in Morocco and how he relates to the subjects of his photographs. He shares what he was thinking when shooting specific shots and tells a wonderful story about his photo with the Magritte painting. He’s an artist that works for his own pleasure without concerning himself about how people will react and we certainly love the results he achieves!

EPISODE 78 - CHRIS MILLER & PHIL LORD - Directors, Writers, Producers Team Deakins speaks with another long term collaborative team - Phil Lord and Chris Miller (CLOUDY WITH A CHANCE OF MEATBALLS, THE LEGO MOVIE, SPIDER-MAN: INTO THE SPIDER-VERSE). We cover a lot of topics, including the difference between directing live-action and animation, how they work together, the biggest disagreement they’ve had, and the challenges of directing comedies. We learn about the making of Cloudy with a Chance of Meatballs, The Last Man on Earth TV series, and the process on Spiderman - Into the Spider-Verse. We also learn their take on the possibilities in animation. A really interesting look at a very successful collaborative team! RECOMMENDED VIEWING: Last Man on Earth (TV), Cloudy with a Chance of Meatballs

EPISODE 77 - ED LACHMAN - Cinematographer Team Deakins has a great conversation with Cinematographer, Ed Lachman (CAROL, FAR FROM HEAVEN, DARK WATERS). We talk about many things, including his working with Robby Mueller and what he learned from him, his feeling on operating the camera, and finding your language with the director. He also shares his working process with director Todd Haynes, with whom he has collaborated many times. We go into depth on the movie “Far from Heaven” (one of his collaborations with Todd) from finding the look, the inspiration from Douglas Sirk films, and the use of colors. We also touch on the differences in using gels with film & with digital, his choice of lens, getting the look he wanted in “Dark Waters” and working with Paul Schrader. And much, much more! RECOMMENDED EPISODE VIEWING: Far From Heaven

EPISODE 76 - MIKE LEIGH & DICK POPE - Director & Cinematographer Team Deakins has the pleasure of sitting down with the long time collaborative team of Mike Leigh and Dick Pope (MR. TURNER, NAKED, SECRETS & LIES). What a great conversation! Mike shares with us his method of working and delineates the difference between his work and that of the directors John Cassavetes and Ken Loach. We learn the importance of having the right location and being able to return to the location during the course of the shoot. As the film is an “ongoing investigation” of what it will be according to Mike, Dick shares how amazing the experience is when he sees the blocked scene play out on location for the first time. Mike speaks on his way of working with actors. We also learn why on the film Peterloo, which involved a lot of scenes with a lot of extras and battles, they chose not to do storyboards. Both Mike and Dick talk about the specifics of their collaboration and how it has strengthened over years. A fascinating look into a very special relationship between a director and cinematographer. RECOMMENDED EPISODE VIEWING: Secrets and Lies

EPISODE 75 - JOHN WELLS - Director, Producer, Showrunner Team Deakins has a great conversation with John Wells, a director, producer and showrunner of such television as ER, WEST WING, THIRD WATCH, SOUTHLAND, and SHAMELESS. John spells out the responsibilities of the position of showrunner on television, and we get to ask all the questions for which we’ve always wanted to know the answer! We learned a lot about the process in television series - how far in advance the scripts are done, the actors' ownership of their role, the importance of cinematographers in episodic TV. We also learned how much of the story is known at the start of the season and how the scripts change during the season. John also gives a thoughtful opinion on the effect of streaming on future moviemaking. We talk about writing a villain successfully, ensemble movies, and much, much more! Don’t miss this episode!

EPISODE 74 - ADAM ARKAPAW - Cinematographer Team Deakins catches up with cinematographer Adam Arkapaw (ANIMAL KINGDOM, ASSASSIN’S CREED, TRUE DETECTIVE). We learn a lot about the Australian film Animal Kingdom and how it was shot. Adam also tells us what he does during prep, how he works with a production designer and how he likes to give space to the actors. He also talked about something Andrew Lesnie once said to him and how it affected him. We also speak about how he chooses his projects, and his experiences on Macbeth, The King and True Detective. He shares his experiences in television and compared it to his film work. A fun episode with lots in it!

EPISODE 73 - ROB HARDY - Cinematographer Team Deakins sits down with English cinematographer, Rob Hardy for a great, in-depth conversation. We cover many subjects, including his work on BOY A with John Crowley, the experience of the movie, RED RIDING with Michael Winterbottom, and his frequent collaboration with Alex Garland on the films EX MACHINA andANNIHILATION. He also talks about working with a Steadicam, operating the camera, mixing light sources and his choice of lenses per project. We even get into his experience on MISSION IMPOSSIBLE. And we don’t forget to talk about the series DEVs.  It’s a special inside look at how he works and thinks. You don’t want to miss it! RECOMMENDED EPISODE VIEWING: Boy A, Devs, Ex Machina

EPISODE 72 - “BIGGLES” (JOHN HIGGINS) - Gaffer Team Deakins sits down with Biggles (John Higgins, if you want to be formal) an accomplished gaffer that Roger has a long past with.  Biggles talks about working with Ozzie Morris and different lighting styles. We get into a discussion about brute arcs, what they are and the difference in the light they produce. Roger and Biggles reminisce on their experiences together on 1984, MOUNTAINS OF THE MOON, WHITE MISCHIEF and 1917. Biggles also shares some experiences with Chivo (GRAVITY and Sven Nykvist and Richard Attenborough (CHAPLIN) and talks about how he works with DPs and the importance of trust. Of course, we talk about the big lighting rig on 1917 as well as the scenes lit only by the character’s torches (flashlights). We got into the subject of new technology in lighting and the importance of being realistic when choosing the lights to use for a project - if there are hostile conditions, far better to go with something dependable. A wide-reaching episode you won’t want to miss!

EPISODE 71 - DEDE GARDNER - Co-President Plan B Entertainment Teams Deakins speaks with Plan B co-president, Dede Gardner (IF BEALE STREET COULD TALK, 12 YEARS A SLAVE, MOONLIGHT). We talk about the careful selection by Plan B of the projects they choose and how the company’s goal is to protect the original intention of a film throughout the process. Dede tells us her process in choosing projects to back and that she chose to become a producer because it allowed her to spend the longest time on a project. We talk about the strange world we create when we shoot a movie and how each movie is a situation that doesn’t repeat. She speaks at length on her working relationship with Jeremy Kleiner, Plan B’s other co-president. We also covered the importance of recognizing when you are working on the wrong incarnation of a movie and the need to step back and start again. We also covered the movie Selma, working in television, balancing work and family, how important conviction and passion are and much more! So much information in one episode!!

EPISODE 70 - BARRY ACKROYD - Cinematographer Team Deakins sits down with esteemed cinematographer, Barry Ackroyd (BOMBSHELL, CAPTAIN PHILLIPS, THE HURT LOCKER). We covered many topics, including his work with the director Ken Loach and Ken’s approach to moviemaking. We also learn about his work with Paul Greengrass and he tells us about how certain scenes were shot on United 93. Barry talks about lighting a space and how he enjoys limitations. We also talk about handheld operating and how he achieves what he does with a handheld camera and he shares his feelings about operating in general. He tells us how he chooses his projects, his thoughts on operating, his experience of working on Captain Phillips and his feelings about electronic viewfinders. A great conversation! RECOMMENDED EPISODE VIEWING: United 93

EPISODE 69 - TURNING THE TABLES - No Country for Old Men Team Deakins has the tables turned on them! Cinematographer Greig Fraser and actor Josh Brolin ask the questions in this episode. We covered a lot about the movie and looked in detail at seven scenes in the movie. The conversation also went in some unplanned areas - we learned, among other things, how Greig hates the script slug line “evening”, what it was like working with Kelly McDonald, how important trust is when working on a film, and what the experience of shooting No Country for Old Men was like for Josh. Happy accidents, our favorite scene in the film, and the relationship between actor and DP were also talked about. And much, much more! There is a companion PDF for this episode that lists the clips we discussed and when they appear in the film. Don’t miss this special episode - there’s a lot in it. CLICK HERE TO DOWNLOAD PDF. REQUIRED EPISODE VIEWING: No Country for Old Men

Episode 68 - ANTHONY DOD MANTLE - Cinematographer Team Deakins talks to talented cinematographer, Anthony Dod Mantle (SLUMDOG MILLIONAIRE, DOGVILLE, T2 TRAINSPOTTING). We cover many subjects, including his work in documentaries and political films, his experiences in India, how he started with still photography and why he moved to motion picture, and his early experiences of focus pulling. He tells us at length his involvement with dogma films and what that means and how he likes to start from a new place for each film. He breaks down a lot of the shooting in the movie “The Command” and gives us the tip of how where you put the focus helps greatly in marrying different formats. A fascinating discussion with a great cinematographer! RECOMMENDED EPISODE VIEWING: The Command

EPISODE 67 - DAVE DILIBERTO - Post Supervisor Team Deakins sits down with long time friend and post supervisor, Dave Diliberto (O BROTHER, WHERE ART THOU, THE MAN WHO WASN’T THERE). We talk about a lot of subjects, including his start with the Coen Brothers, the difference of working with the Coens and with other directors, and we go in to challenging post of the film “O Brother, Where Art Thou?”. We also speak of what super 35mm means in a film post and the difficulty involved in re-mastering titles. Dave leads us through mixing, the different deliverables on a project and his reaction to the phrase “We can fix that in Post”. A great look at what happens after the film is shot.

EPISODE 66 - ANDREY ZVYAGINTSEV & MIKHAIL KRICHMAN - Director & Cinematographer Team - Part 2 Team Deakins continues their epic conversation with Andrey Zvyagintsev and Mikhail Krichman, celebrated Russian collaborative team of director and cinematographer. This is the second part of a two part episode. We learn a lot about the shooting of the movie, Leviathan and the weather challenges they faced. Andrey shares that he doesn’t re-watch his films and also entertained us with the story of his very first experience shooting a 16mm film when he was young. He’s come a long way since then, let’s just say! We also speak about independent film financing in Russia vs state funded and their feelings on film vs digital. And Mikhail tells how Roger unknowingly participated on The Return! A great conversation with talented filmmakers!! RECOMMENDED EPISODE VIEWING: The Return, The Banishment, Elena, Leviathan, Loveless

EPISODE 65 - ANDREY ZVYAGINTSEV & MIKHAIL KRICHMAN - Director & Cinematographer Team - Part 1 Team Deakins have an amazing conversation with the Russian collaborative team of Andrey Zvyagintsev and Mikhail Krichman (LOVELESS, LEVIATHAN, THE BANISHMENT). We have been avid fans of their films for years and so this was very special to us. Their films are: The Return, The Banishment, Elena, Leviathan and Loveless. We speak about so many things that we had to make two episodes from the result! In this episode we learn about their unique collaborative process of 20 years, their experiences on The Return, The Banishment and Elena. We speak about VFX, how Andrey works with his actors and how they battle unpredictable elements, like children and weather. A great conversation with true masters of filmmaking! RECOMMENDED EPISODE VIEWING: The Return, The Banishment, Elena, Leviathan, Loveless

EPISODE 64 - JON KILIK - Getting the project off the ground Team Deakins is happy to welcome producer Jon Kilik back again with a specific subject - how to get film projects off the ground. Because films are different, we look at the different ways you can move forward. Jon tells us about the need to be flexible without compromising the vision, how often compromises can be opportunities, and if you can’t bring the film’s operating price down, you might have to wait and do a smaller project first. He also walks us through the process of finding distribution for a film. We talk about how to deal with a project that is financed from many sources and how to structure this. He also touches on the weight a name actor adds to a project, how the process of filmmaking is making the project better everyday and dealing with stress. We’re so glad that Jon came back and delved into this subject with us!

EPISODE 63 - TURNING THE TABLES - The Assassination of Jesse James The tables get turned on Team Deakins in this episode with Greig Fraser asking us the questions, focusing on the film “The Assassination of Jesse James”. Greig asks questions on 7 clips of the film. There is a companion pdf with this episode (see the link below) that lists the approximate time these clips appear in the movie with images of the first and last frames. We get into specific breakdowns of these shots as well as talking about the experience of working with the director, the lyric nature of the book and how that influenced the film as well as the incredible music track from composer Nick Cave. Greig had done his homework and had plenty of questions for us! He led us through a great discussion of this film. Click here to download the companion pdf. RECOMMEND EPISODE VIEWING: The Assassination of Jesse James

EPISODE 62 - DODD VICKERS - Location Scout/Location Manager Team Deakins again looks into the complexities of locations in the scheme of production with location scout and manager, Dodd Vickers (THE GLORIAS, SHARP OBJECTS, SUPERFLY). We talk with Dodd who shares with us how to find locations, things that have to be considered for locations and working with the budget. He also talks about how he needs to get into the director’s head, how the location department are the ambassadors of the film and the importance of getting to know the location neighborhood and the people living there. We also touch on reusing locations, remembering logistics when looking for locations and the difference in locations for film and TV. And much more!!

EPISODE 61 - JASON HALL - Writer, Director Team Deakins has a great conversation in this episode with writer and director, Jason Hall (THANK YOU FOR YOUR SERVICE, AMERICAN SNIPER). He takes us through the experience of writing the script for American Sniper. He literally had to wrestle for it! He talks about finding the story and dealing with the changes in the script during the course of find its way to the screen. He also walks us through the making of Thank You for Your Service, a movie that is a favorite of ours. We talked about how he approached it as a first time director and how he prepped for the movie. We learn about the casting of the movie and that he worked to surround the actors with things that resonate the truth. And the very important piece of advice that Taylor Hackford gave him during the editing period. He also talks about working with Spielberg, balancing commercial appeal with a meaningful story and the idea of directing a script he hasn’t written. We covered a lot of ground! RECOMMENDED EPISODE VIEWING: Thank you for your Service

EPISODE 60 - BILLY O’LEARY - Gaffer Team Deakins sits down with frequent collaborator and friend, gaffer Billy O’Leary (THE IRISHMAN, BLADE RUNNER 2049, INSIDE LLEWYN DAVIS). It’s a wonderful walk down memory lane and we learned a lot too! He defines the role of gaffer and walks through what he does in prep and how he works with different DPs. He also talks about his love of NOT relying on big lights and working up lighting gags. He likes restrictions and having to think outside of the box. He talks about some specifics on Shawshank Redemption, Blade Runner 2049, Hudsucker Proxy, Barton Fink and Fargo. When asked what his gaffer’s nightmare is, he not only told us but let us know it was a waking nightmare - he did experience it! A fun and informative conversation that we think you’ll like!

EPISODE 59 - JON KILIK - Producer We had the opportunity of sitting down with a producer we’ve had the pleasure of working with, Jon Kilik (FOXCATCHER, THE HUNGER GAMES, BABEL, DO THE RIGHT THING). He clued us in on a few subjects - whey there are so many producers on projects, how the producer credit has been devalued, and the difference in the producer roles in movies and TV. We learned that there’s always a way to figure out how to get a movie made and how he chooses projects. He also shared his experiences of working with Spike Lee with whom he has been a frequent collaborator. And that’s just a few of the subjects we got into! A great episode you won’t want to miss!

EPISODE 58 - JOEL EDGERTON - Actor, Director Team Deakins has a great conversation with Joel Edgerton, (THE KING, BOY ERASED, LOVING), about his craft as an actor, director and writer. We learn why heroes should have a bit of villain in them, finding fun in every character and what he considers when choosing projects. We talk about his work with his brother, Nash Edgerton, what an intricate puzzle fundraising for a project is in Australia, the creative solutions in moviemaking in response to restrictions, and what he likes in both big-budget movies and smaller budget movies. He shared that he likes characters who make a mistake and have to opportunity to right and either do or don’t. We also talk about his role as a director and how it differs from being an actor on set. We talked about so much more - you’ll just have to listen to the episode! RECOMMENDED EPISODE VIEWING: The Gift

EPISODE 57 - TURNING THE TABLES - Shawshank Redemption In this episode, we get the tables turned upon us! Greig Fraser leads the conversation and asks US the questions. He starts by diving into our collaboration process and then moves onto the movie SHAWSHANK REDEMPTION. In addition, he chose 5 clips from the movie to discuss. We list and describe the clip in an accompanying PDF file for this episode that can be accessed by the link below. We also strayed from the movie discussion to talk about choosing the format of a movie, why one shoots anamorphic, choosing the camera for 1917, the pressure on the DP when trying to wait for the right light and the joy of seeing the performance as you are shooting. It’s a fun episode which Greig skillfully leads. Don’t miss it. Use this link to download the PDF file. REQUIRED EPISODE VIEWING: Shawshank Redemption  

EPISODE 56 - THOMAS NEWMAN - Composer Team Deakins sits with Tom Newman, (1917, SKYFALL, WALL-E, AMERICAN BEAUTY), and learns lots about the world of the composer.  He tells us about learning to be a collaborator, his experience with directors like Robert Altman and Sam Mendes, how he deals with last minute editorial changes after the music has been composed and the difference between composing for Live Action and Animation. He also speaks of working in television, how binge watching changed theme music on TV shows, the musical challenge on the film, 1917 and his feeling that creativity is chaotic. And that’s only scratching the surface of what we got into during the conversation! A great episode with a talented composer! RECOMMENDED EPISODE VIEWING: 1917, Shawshank Redemption

EPISODE 55 - RACHEL MORRISON - Cinematographer Team Deakins converses with cinematographer Rachel Morrison in this episode. She speaks on many subjects - telling us about working with director Ryan Coogler, how the way she works with the gaffer differs on features and TV, her like of imperfection. She also shares that she strives to share as much information as possible when working, including sharing the look book with her crew. We learn about the shooting of MUDBOUND and the challenges on that film. And a lot more! A great episode! RECOMMENDED EPISODE VIEWING: Mudbound

EPISODE 54 - ED SOLOMON - Writer Team Deakins talks with writer Ed Solomon, (MEN IN BLACK, BILL & TED’s EXCELLENT ADVENTURE, NOW YOU SEE ME 2), in this episode. We learned a lot about the craft of writing! Ed talks about the differences in writing for TV and features, writing on spec versus adapting material, writers block, and how his script of the original Bill and Ted changed his career. He also shares the experiences of working with Gary Shandling, making writing “actable”, loving the blank page and writing for Steven Soderbergh. He speaks openly on all aspects of writing which makes this a very interesting episode!

EPISODE 53 - JOE REIDY - Assistant Director Team Deakins speaks with an amazing AD, Joe Reidy (THE TRIAL OF THE CHICAGO 7, THE DEPARTED, BORN ON THE FOURTH OF JULY, CASINO). He leads us through the many aspects of the role of Assistant Director - from Scheduling, his prep, AD breakdown, dealing with extras and his relationship with the line producer and creative producer. He speaks of working with specific directors, such as Marty Scorcese, Sidney Lumet and Oliver Stone. He delineates the various positions in the AD department and feels that “running the set is setting the tone”. Everything you wanted to know about the role of the AD and more!! An information packed episode!

EPISODE 52 - PATRICE VERMETTE - Production Designer Teams Deakins enjoys a great conversation with Production Designer, Patrice Vermette (DUNE, VICE, ARRIVAL, PRISONERS). He goes through his working process and talks about his relationship with the Director and DP. He shares his opinion on building sets or using locations, color palettes, and the traits he likes in a director and DP. He gets specific about his work on the movies: Enemy and Sicario. He also speaks of what he wants from his team and the filmmaking community in Montreal. We had hoped to finally get an explanation of the ending of the movie Enemy, but were disappointed once again! Despite that, there’s still great information in this episode so don’t miss it! RECOMMENDED EPISODE VIEWING: Sicario

EPISODE 51 -ANDREW PATTERSON - Director Team Deakins was excited to talk with emerging director, Andrew Patterson. After seeing his debut film, VAST OF NIGHT, we knew we wanted to talk with him. He leads us through the long path of getting his movie made, talks about his casting and the very interesting cadence of the dialogue of the film. He also speaks about wanting to make a movie that doesn’t start to looked aged but the look stays contemporary and what he did to achieve that. He also shares how he maximized his resources, what his first hires were and what he learned from his first film. A really interesting conversation with a very interesting filmmaker! REQUIRED EPISODE VIEWING: The Vast of Night

EPISODE 50 - JOSH BROLIN - Actor Team Deakins sits down with long time friend, actor Josh Brolin (TRUE GRIT, AVENGERS: ENDGAME, ONLY THE BRAVE, MILK). We learned so much from him - how going into law is similar to being an actor (who knew?) and how acting is like golf (learned something new!). He also tells us how his interest in human behavior drew him to acting and he shares the very funny story of his audition for NO COUNTRY FOR OLD MEN. He speaks of his experiences working with the Coen Brothers, he tells us what was involved in his THE AVENGERS role and shares how he was convinced to do SICARIO. He also goes into how he relates with the camera crew, his prep for films and how he uses instagram as a platform for his prose. And that’s only a part of what we talked about! Don’t miss it! RECOMMENDED EPISODE VIEWING: No Country for Old Men

EPISODE 49 - NICOLETTA MANI - Script Supervisor Team Deakins has the pleasure of talking with script supervisor, Nicoletta Mani (1917, MISSION: IMPOSSIBLE- FALL OUT, THE QUIET ONES). We get the chance to discover the wide range of this role in production from the breakdown of the script, day breakdown, script timing, editor notes, continuity and much more. We learn how the script supervisor acts as a conduit to the Editor and their relationship to the director and the other departments. We also talked about handling a shoot with multiple units and multiple cameras. We delved into continuity and when it matters and when it doesn’t. Nicoletta leads us through the different aspects to the job of script supervisor - a very informative episode!

EPISODE 48 - ROB LEGATO - VFX Supervisor Team Deakins speaks with VFX Supervisor, Rob Legato (THE LION KING, THE JUNGLE BOOK, HUGO, TITANIC). He walks us through some of the changes in VFX over the years and is quite vocal on his feelings on the different approaches - CG effects or model work. We learned a lot about his work on Jungle Book, The Lion King, Titanic and Apollo 13. We even talked about shooting 3D versus converting afterwards. Rob also told us his thoughts of the future of CG. A lot of information in this episode!

EPISODE 47 - TIM ROBBINS - Actor, Director Team Deakins has a great conversation with actor, director (and punk rocker, as you learn in the episode!), Tim Robbins (MYSTIC RIVER, THE PLAYER, THE SHAWSHANK REDEMPTION, DEAD MAN WALKING). Tim shares a lot of his thoughts on acting, the importance of “generous actors” and how fame can lead you astray. We learn about overcoming the temptation to take a job for the wrong reasons and the importance of patience when choosing your work. He tells us about his experience of working with Bob Altman, Clint Eastwood and Ron Shelton. We talk about his directing experiences and how directing made him a better actor. The movie “Easy Rider” even comes into the discussion! A fascinating conversation you won’t want to miss! RECOMMENDED EPISODE VIEWING: 5 Corners, Bull Durham, Bob Roberts

EPISODE 46 - ED ZWICK - Director Team Deakins has the opportunity in this episode to sit down with director, writer, producer Ed Zwick and discuss a wide range of subjects. Ed’s list of credits is long and includes THE SIEGE, COURAGE UNDER FIRE, and DEFIANCE). Ed tells us what is important to him as a director and why he thinks scale is important in a movie. He also speaks of the value of finding the action on the set rather than trying to set it beforehand either with pre-vis or storyboards. We talk about casting and he shares some examples of working with actors. He also speaks on what he thinks is the difference between film and television production as well as his belief that movies can make a difference. It is a great discussion with a passionate filmmaker and not one that you’d want to miss! RECOMMENDED EPISODE VIEWING: Courage under Fire, The Siege

EPISODE 45 - JAKE GYLLENHAAL - Actor Team Deakins had the opportunity to sit and talk with long time friend, actor Jake Gyllenhaal (BROKEBACK MOUNTAIN, PRISONERS, NIGHTCRAWLER). Jake speaks about his relationship with directors and with cinematographers. We speak about his work in Donnie Darko and Prisoners, as well as Jarhead and Wildlife. He speaks about how, as an actor, the final result is always in other people’s hands. He also shares how important the collaboration between actor and cinematographer is and the importance of creating a “safe place” for the actor in front of the camera. Although we were hoping he would explain the end of the movie Enemy (and he said he would!), we finished the episode without knowing any more! And we also got into the craft of building sand castles! A really fun conversation that gave us an insight into the world of an actor! Don’t miss it! RECOMMENDED EPISODE VIEWING: Donnie Darko, Jarhead

EPISODE 44 - FRANZ KRAUS Part 2 - Arriflex This is part 2 with Franz Kraus. We continue our conversation with Franz about all things digital. We talk lens, camera, the Trinity rig, viewfinders, the M camera (precursor of the Mini) and what might be coming in the future. A great chance to get all of those digital questions out into the open! It was an amazing experience to pick the brain of a person behind the development of digital technology.

EPISODE 43 - FRANZ KRAUS Part 1 - Arriflex Team Deakins sits down with Franz Kraus of Arriflex who has overseen most of the company’s digital visual advancements. We learn the history and progression into digital technology. He also walks us through the greater importance of dynamic range vs resolution. We learn how the sensor size affects the relationship between lens and subject. We speak about the Arri 65 camera as well as the LF camera. And much more! Franz was so generous with his knowledge that we have to split our session into two episodes!! It’s a great deep dive into digital technology!

EPISODE 42 - KK BARRETT - Production Designer Team Deakins sits down with production designer KK Barnett (HER, BEING JOHN MALKOVICH, MARIE ANTOINETTE). It’s a great opportunity to delve into the job of the production designer and all it entails. We go into depth about how he works with the DP and the Director. He illustrates his process by talking specifically about scenes in Being John Malkovich, Where the Wild Things Are, and Adaptation. We talk about the difference in designing from an original script or a script based on a book. He shares his process of breaking down a script and offers advice to those starting out. We even talk about the proverbial “Telephone Box” set. An episode with a lot of information about production design! RECOMMENDED EPISODE VIEWING: Being John Malkovich, Marie Antoinette

EPISODE 41 - PAUL DANO & ZOE KAZAN -Actors, writers & director Team Deakins has the pleasure of speaking with another couple in the film business. Both are actors and writers and Paul has also directed. We talk a lot about the experience of being an actor and they articulately discuss the difference between acting for the stage and for film. We talk about the experience of being a couple in the same business and working together. Zoe shares how her writing allows her acting to be more personal and how hard it is to write a project and then let it go once it is picked up to be made. We had the opportunity to ask Paul many questions on his wonderful debut film as a director, “WILDLIFE”. We also touched on actors and their awareness of the camera, actors and continuity, their pet peeves about actors and how they choose their projects. Zoe speaks about working with the Coen Brothers and Paul speaks about working with Denis Villeneuve. We cover a lot of ground in this episode! RECOMMENDED EPISODE VIEWING: Wildlife, The Ballad of Buster Scruggs

EPISODE 40 - SONA PAK & GUILLAUME ROCHERON - VFX Producer & Supervisor Team Deakins dives into the world of VFX. We speak with a VFX Producer, Sona Pak (1917, THE TWO POPES, ALIEN: COVENANT) and a VFX Supervisor, Guillaume Rocheron (1917, AD ASTRA, LIFE OF PI). So the first question we get to settle is who does what. We also look into things like, the advantages and disadvantages of working with multiple vendors, how to keep a continuity of look when so many people are working on a shot, face replacement in shots, how what is a VFX shot and what isn’t is decided, the importance of knowing the different strengths of the various VFX houses and how the post schedule can contract. And that’s just a few of the points we touch on. It’s a large subject and it was great to speak with two such talented people!

EPISODE 39 - HOYTE VAN HOYTEMA - Cinematographer Team Deakins has a fascinating conversation with celebrated cinematographer Hoyte van Hoytema (DUNKIRK, LET THE RIGHT ONE IN, TINKER TAILOR SOLDIER SPY, HER, INTERSTELLAR). He shares his experience of working with directors, Christopher Nolan and David O Russell. He talks about the value of shooting as much as possible in camera and how he approaches lenses, often creating a set specifically for a movie. We learn about how working with Christopher Nolan the second time on Dunkirk was different and he goes into detail on shooting in IMAX, talking about the pros and cons. He also shares his opinions on working with a large budget and a small budget. And there’s plenty more. You don’t want to miss this! RECOMMENDED EPISODE VIEWING: Dunkirk, Ad Astra, Interstellar

EPISODE 38 - JEB BRODY - Pres of Production, Amblin Studios Team Deakins sits down with Jeb Brody, the president of production at Amblin Studios and learn a lot about the studio side of production. Jeb walks us through so much - the difference between a studio exec and a producer, the relationship between the filmmakers and the studios, the differences between the studios and the movies they make. We discuss what kind of films are getting made these days, look at the difference of negative pickup and acquisition, and why the bad behaviors of filmmakers in the ’70s no longer works. We worked with Jeb on 1917 and get into that as well. And we learn from the studio’s point of view what the growth of streaming means for moviemaking. We even got into the “dark arts of filmmaking” (you’ll have to listen to learn about this!). We’ve never had the opportunity to sit with the studio and ask them all our questions so we had a great time! Don’t miss it if you want to learn everything on the studio side!

EPISODE 37 - LAURA METCALFE - DI Producer/Finishing Producer Team Deakins looks into the final step of making a movie or the DI, with DI Producer/ Finishing Producer, Laura Metcalfe (1917, WONDER WOMAN, TOMB RAIDER). While previously called the “DI Producer” since when it started it was all about the DI (“Digital Intermediate”), because the process has become so complex, you’ll hear the role referred to as “Finishing Producer”. We speak with Laura Metcalfe of Company 3 in London who worked with us on “1917”. We talk about when this role actually starts on a movie (much earlier than you might think!) and talk at length about setting up workflows that continue until the film finishes. We also go into detail with Laura about the very bespoke workflow on “1917” and the challenges it presented. We also walk through some of the deliverables of a film (the different formats that are made), how the dailies timing differs from the DI timing and the steps to setting up a DI. And, of course, much more! A very detailed look at post!

EPISODE 36 - LINUS SANDGREN - Cinematographer Team Deakins sits down for a conversation with cinematographer, Linus Sandgren (NO TIME TO DIE, FIRST MAN, LA LA LAND, JOY). “I love the creation of the image.” We cover a lot of ground in our talk and touch on, among other things, Swedish films and sensibilities, working minimally, how important it is to find the right approach for each movie. He also goes into detail about how he develops the look with the director. He tells us about working with David O Russell and does a deep dive on the making of FIRST MAN which you don’t want to miss! And finally, of course, we talk a bit about shooting a Bond movie. A fascinating conversation with a talented image-maker! RECOMMENDED EPISODE VIEWING: First Man, 6 Souls

EPISODE 35 - JOE WALKER - Editor Team Deakins speaks with friend and two time collaborator, editor Joe Walker (ARRIVAL, SICARIO, BLADE RUNNER 2049, 12 YEARS A SLAVE). We get an interesting look into the changes in the techniques of cutting between now and when Joe started. We talk about where the cutting style of the movie comes from, when a sound editor comes in and what they, test screenings - pros and cons. We also touch on the editing in Sicario, 12 Years a Slave and Shame. We do get into what crossing the line is and what you can get away with continuity-wise. And we even share our personal work-related nightmares! It’s an episode packed with information that you won’t want to miss!

EPISODE 34 - JOHN LINDLEY - Cinematographer Team Deakins speaks with John Lindley, cinematographer and president of camera local 600. John shot the films FATHER FIGURES, PLEASANTVILLE, FIELD OF DREAMS, and BEWITCHED. We talk about documentaries and what working on them gives you - both personally (it “enlarges your life”) and skill-wise. We also talk about handling the pressure on the set tin the role of dp and how to oversee the people you’re working with and getting the best out of them. The difference between working in TV and on features is also looked at. We also learn about unions and the camera union.

EPISODE 33 - JOEL COEN - Director Here’s the episode you’ve all been waiting for! Team Deakins sits down with long time collaborator, director Joel Coen (TRUE GRIT, NO COUNTRY FOR OLD MEN, FARGO, INSIDE LLEWYN DAVIS). A great conversation that covers aspects of their experiences together as well as the importance of collaboration and letting go of defensiveness. Of course we talk about storyboards and their place in the process as well as the power of editing. We talk about the importance of casting and the way he works with actors. As well as the fact that not having a large budget can be a blessing. Joel is an incredible filmmaker and it’s amazing to hear him speak on the craft of making films. Be sure not to miss this one! RECOMMENDED EPISODE VIEWING: True Grit (2010), The Man Who Wasn’t There (2001)  

EPISODE 32 - DICK POPE - Cinematographer Team Deakins has an entertaining conversation with cinematographer and long time friend, Dick Pope (Mr. TURNER, SECRETS & LIES, ANOTHER YEAR, THE ILLUSIONIST). We talk about his start in film, his work in documentaries and his long term collaboration with director Mike Leigh. Along the way, we also touch on the importance of trust between DP & Director, working with keys that you don’t know and in particular how he works with gaffers. We touch a bit on operating and even end up with a bit on film vs digital, although we weren’t planning on going there! It’s a fascinating episode and we promise you will laugh during parts! RECOMMENDED EPISODE VIEWING: Any Mike Leigh film