On the set of HBO’s Westworld (2016)

Behind the scenes of the making of Westworld

A gallery of behind the scenes images from the first season of HBO’s Westworld, which was shot on Super 35mm with Arri film cameras, Cooke prime lenses, and Fujinon zooms.

To read more about the making of the sci/western hybrid, check out these features from Filmmaker Magazine, American Cinematographer Magazine, ICG Magazine, and Kodak. All the images are courtesy of these sources. Continue Reading ›

Shot Behind the Shot: Enter the Dragon (1973)


(Above, top – photo by David Friedman) On the set of Enter the Dragon (1973), cinematographer Gilbert Hubbs frames a handheld shot with the metallic claw of villain Shih Kien in the foreground during the climactic final showdown with Bruce Lee. Lee completed only four starring roles before his death at the age of 32 – with the posthumously released Enter the Dragon being the last.

The behind the scenes pic above comes from a photo spread on the website of American Cinematographer Magazine. You can also buy the 2013 issue of the magazine featuring an Enter the Dragon retrospective on the publication’s website for just $1.

For more in the Shot Behind the Shot series, click here.

Shot Behind the Shot: Swiss Army Man (2016)

Behind the scenes of Swiss Army Man vfx #1

(Above) The practical portion of one of Swiss Army Man’s many inventive effects that give superhuman powers to flatulent corpse Manny (Daniel Radcliffe). Here’s the film’s cinematographer Larkin Seiple on the various fake Radcliffes constructed for the movie, via an interview with Seiple I did for Filmmaker Magazine. Continue Reading ›

The Shot Behind the Shot: Midnight Special (2016)

Behind the scenes of Jeff Nichols' Midnight Special

The set-up behind a shot in Jeff Nichols’ Midnight Special, lensed in 35mm with Panavision Millennium XL2 cameras and G Series anamorphic lenses. For more in the Shot Behind the Shot series, click here.

Here’s the film’s cinematographer Adam Stone on the search for this scene’s location – via an interview in Filmmaker Magazine.

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Shot Behind the Shot: The Nice Guys (2016)

The Nice Guys behind the scenes

The soundstage set-up for The Nice Guys’ “killer bee” dream sequence. Here’s the film’s cinematographer Philippe Rousselot on why he prefers shooting driving scenes on the stage rather than practically, from an interview I did with the Oscar-winning DP for Filmmaker Magazine.

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Pic of the Day: Cheating angles on the set of Room (2015)

Room Remp

Setting the first 45 minutes of the Oscar-nominated drama Room in a 10-foot-by-10-foot shed necessitated the occasional cheat – such as above, where a section of the set’s floor was removed in order to get the Red Epic Dragon low enough for this over-the-shoulder reverse on Brie Larson.

Here’s Room director Lenny Abrahamson on the rules he and cinematographer Danny Cohen devised for the shed-set portion of the film:

“A rule we set for ourselves in shooting was that the lens of the camera would always be inside the boundaries of Room. The camera body might be behind the line of the wall (whether the wall was there or not) but the lens would be inside it. This was important in preserving the audience’s immersion in the world of Room, and in maintaining the sense of immediacy and intimacy that drives this section of the film. We could have cheated, but I’m certain something would have been lost.”

Read the rest of Abrahamson’s self-penned thoughts on Room here. Or check out this interview I did with Cohen for MovieMaker in which the British DP breaks down shots from Room, The Danish Girl, and The Program.