Deep Fried Interview: God Help the Girl and Young Ones cinematographer Giles Nuttgens

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It’s hard to imagine two more disparate films than God Help the Girl and Young Ones. The former – shot in Glasgow on 16mm – is anarchic, whimsical and vibrantly colored, echoing the spirit of the French New Wave. The latter – lensed on anamorphic 35mm during a smoldering South African summer – is formalist, brooding and nearly monochromatic, recalling both the vistas of the American Western and the hard-scrabble Dustbowl sagas of John Steinbeck.

Yet for cinematographer Giles Nuttgens, the projects held a common thread. Continue Reading ›

Deep Fried Interview: The One I Love cinematographer Doug Emmett

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No more low budget indie films. That’s what cinematographer Doug Emmett told himself. No more $100,00 budgets. No more 15-day shooting schedules. No more choosing lenses because they’re free and no more crashing in guest rooms.

Then the “scriptment” for The One I Love arrived and along with it the tale of a couple whose weekend retreat takes an unexpected turn into Twilight Zone territory. Continue Reading ›

Deep Fried Interview: All Cheerleaders Die cinematographer Greg Ephraim

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Photo credit for all behind the scenes pics featured below: Vanessa Menendez.

Colorful, light and fun aren’t the first adjectives that spring to mind when thinking of director Lucky McKee, who made his reputation with psychologically dark, female-centric genre offerings such as May and The Woman. But they’re fitting descriptors for McKee’s latest All Cheerleaders Die, a genre and tone-hopping horror comedy about a squad of undead cheerleaders co-directed by McKee’s old college pal Chris Sivertson.

“One thing Lucky described to me when we were preparing the film was the color palette,” said All Cheerleaders Die cinematographer Greg Ephraim. “He said, ‘I’ve done all these dark, moody movies. I want to do something fun and poppy and colorful. I don’t want to be the kid with the 12-crayon box in school. I want to be the kid with the 64-crayon box.’ For me, that describes the cinematography of this movie.” Continue Reading ›

Deep Fried Interview: Cheap Thrills cinematographer Andrew Wheeler

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There’s an axiom in movie production that goes like this – you can do something fast, you can do it cheap or you can do it well. Any two are possible simultaneously, but only at the expense of the third. So if you want something done fast and cheap, you will sacrifice quality. If you want something done inexpensively and done well, it will not be fast.

Cheap Thrills defies that conventional wisdom. Continue Reading ›

Deep Fried Interview: Person of Interest cinematographer Manuel Billeter

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As cinematographer Manuel Billeter worked his way up through the crew ranks of the camera department as an assistant and then an operator, he tried to absorb something from every Director of Photography he came in contact with.

“With any DP that you work with, you always try to learn something,” Billeter said. “You’re almost like a spy (laughs), watching and trying to figure out what does and doesn’t work. It’s a free lesson in filmmaking.” Continue Reading ›

Deep Fried Interview: Return to Nuke ‘Em High cinematographer Justin Duval

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Troma, that New York-based bastion of unabashed bad taste, has been around for nearly 40 years, but the studio remains best known for a pair of mid-1980s movies that mixed the satirical and the scatological – The Toxic Avenger and Class of Nuke ‘Em High.

The latter recently received the remake treatment, directed by none other than Troma co-founder Lloyd Kaufman himself and presented in two volumes, the first of which just hit home video. Yes, much like Kill Bill and the final entry in every young adult franchise, a single film simply couldn’t contain all of the social satire, buckets of gore and flatulence jokes Return to Nuke ‘Em High has to offer. Continue Reading ›

Deep Fried Interview: Haunter cinematographer Jon Joffin


A movie set entirely inside a single suburban house might not seem as if it would present much of a challenge for a cinematographer. But Haunter is no ordinary single-location movie.

This ghost story from Cube and Splice director Vincenzo Natali takes place in four different time periods ranging from the 1920s to the present – each with a distinct look – and shifts between reality and a fog-encased spectral limbo. The man charged with creating those looks is Canadian (by way of South Africa) cinematographer Jon Joffin, ASC, who talked to Deep Fried Movies about shepherding his director into the digital realm, Haunter’s art-house inspirations and choosing the Arri Alexa over Sony’s F65. Continue Reading ›

Deep Fried Interview: Patrick cinematographer Garry Richards

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During their decade-plus of making music videos together, Australian director Mark Hartley and cinematographer Garry Richards always hoped for the chance to make a feature. One that paid homage to the Gothic chillers and Brian De Palma and Alfred Hitchcock thrillers they grew up admiring.

That chance has arrived with Patrick, the duo’s Gothic-flavored remake of the 1978 Australian genre favorite about a seemingly comatose patient at a remote psychiatric hospital who wreaks telepathic havoc on his caretakers, including a new nurse played by You’re Next heroine Sharni Vinson.  Continue Reading ›