Deep Fried Interview: Short Term 12 cinematographer Brett Pawlak


The title of director Destin Cretton’s Short Term 12 refers to a temporary care facility for adolescents with nowhere else to go. For those kids – and for the staff, barely more than kids themselves – Short Term 12 is at various times a solace and a prison. A respite from an outside world that has abused them and an excuse to delay re-engaging with reality. A place of isolation and a fishbowl of perpetual observation.

The task of visually expressing those dichotomies – all while staying within the parameters of Cretton’s non-intrusive, naturalistic aesthetic – fell on cinematographer Brett Pawlak, who talked with Deep Fried Movies about the challenges of making one of our favorite films of the year. Continue Reading ›

Deep Fried Interview: Cinematographer Benji Bakshi talks the creature feature Big Ass Spider!


Between all the sharnados and sharktopuses (or is it sharktopi?), the schlocky CGI creature feature has become a subgenre embraced almost solely for its charming ineptitude. But Big Ass Spider! makes it clear in its very first scene that its aim is loftier than being enjoyed ironically. Continue Reading ›

Deep Fried Interview: Black Rock cinematographer Hillary Spera

Black Rock poster #2

A trio of estranged friends (Kate Bosworth, Lake Bell and Katie Aselton) retreat to an isolated Maine island from their youth to reconnect. However, their cathartic trip down memory lane is interrupted when an accident places them in violent opposition to a group of recently discharged soldiers hunting on the island. Imagine Deliverance with a gender twist and you get the idea behind Black Rock, an indie horror thriller with an emphasis on character and a naturalistic aesthetic atypical of the genre. (continue reading) Continue Reading ›

DP Alex Buono explains – in amazingly technical detail – the process behind making Saturday Night Live’s Wes Anderson spoof

In the Edward Norton-hosted episode of Saturday Night Live back on Oct. 26th, SNL unveiled an amusing trailer for an imaginary Wes Anderson-directed home invasion horror film.

The cinematographer for that faux-trailer, Alex Buono, has posted a lengthy and astonishingly detailed breakdown of the shoot on his blog. Behind the scenes photos. Overhead lighting plots. The explanation behind the choice of camera (an Arri Alexa Plus), lenses (mainly anamorphic primes), lighting units and color palette. (continue reading) Continue Reading ›