“Either it Blows Up or it Doesn’t.” – New interview for my Filmmaker Magazine column with Pearl cinematographer Eliot Rockett Rockett, a longtime Ti West collaborator (X, The Innkeepers, The House […]
Year – 2020 Decade – 2020s Cinematographer – Jo Willems Director – Remi Weekes Studio – Netflix and BBC Films Genre – Horror; Haunted House Aspect Ratio – 2.40 Filming […]
“You want to avoid a shot looking like a fruit salad. There needs to be a dominant source, then a secondary source. One light has to win.” Halloween Ends cinematographer […]
I talked with Jeff Cutter, DP of the new Predator prequel Prey, about dodging bears in the wilds of Calgary, creating the predators’ heat vision and cloaking effects, and reteaming […]
Year – 2015 Decade – 2010s Cinematographer – Arthur Albert (imdb link) Distributor – AMC Genre – Television; Drama Aspect Ratio – 1.78 Filming Location – Albuquerque, New Mexico Camera […]
“Filming a character who has to be seven or eight inches from the lens adds a whole bunch of complications.” New interview up for Filmmaker Magazine with Marcel the Shell […]
Year – 1958 Decade – 1950s Cinematographer – Joseph LaShelle Director – Martin Ritt Genre – Drama; Romance Distributor – 20th Century Fox Aspect Ratio – 2.35 Lenses – Anamorphic […]
“I actually still use my light meter on everything….Being part of that transition from film to digital, I still can’t let it go and totally trust the monitor.” Less than […]
New interview for my column at Filmmaker Magazine with Elvis cinematographer Mandy Walker. Shot on Alexa 65, with Panavision Spheros for the pre-Vegas portion of the film and Panavision T-Series […]
New interview up at Filmmaker Magazine with Hustle DP Zak Mulligan. The Netflix film stars Adam Sandler as a burned out Philadelphia 76ers scout who discovers a raw talent (pro […]
“I really like that sodium vapor look that is kind of fading. Everyone is moving to LEDs at this point, so this felt like a final hurrah for sodium vapor.” […]
“You’re kind of questioning, ‘Does this look too much like a shitty old ’90s music video?’ – Cinematographer Caleb Heymann on leaning into a retro horror vibe for the A […]
Year – 1973 Decade – 1970s Cinematographer – Conrad L. Hall Director – James William Guercio Aspect Ratio – 2.39 Distributor – United Artists Genre – Drama Lenses – Panavision […]
“A messy but fun way to make something very stupid but very beautiful.” Check out my interview with Everything Everywhere All at Once cinematographer Larkin Seiple over at Filmmaker Magazine. […]
“Whenever I’m concentrating on a shot, to be honest, I don’t feel anything else. I don’t feel cold. I don’t feel hot. I don’t feel the weight.” – The Matrix […]
deep fried movies 