You are listening to The Next Best Picture podcast, and this is Brendan Hodges's interview with the Emmy nominated cinematographer for Sugar, Richard Rakowski.

Another beautiful day in California.

Out here, I'm one of the good guys.

Look good and bad can be in the eye of the beholder.

All the leaves are brown.

John Sugar.

I'm a private investigator. They told me that you do one thing and one thing open.

You find the missing.

His granddaughter, she's missing.

Sugar, I don't like this case for you.

And I begin to pray.

Who are you, buddy?

All right, so Richard, thank you for talking with me today.

I wanted to start by asking how sugar, in my opinion, is one of the most cinematic and stylish shows of the year on many levels, but especially for how it freely jumps between,

I guess what we'd think of as like a classic neo-noir look, but with all this really dense

visual experimentation, it's doing all these different things. Like there's moments in the show,

not just scene to scene,

but shot to shot,

that are jumping from like a dramatic,

wide angle lens to a canted angle.

And then suddenly you're seeing a static camera shot

that's really well composed,

...