From KCRW Santa Monica and KCRW.com, it's The Treatment.

I'm Elvis Mitchell. It's the treatment. Thank you so much for listening. My guest has been really busy, let's say, since the last 25 years. In addition to

working with Judd Apatow and James O. Brooks, he shot 17 features for Steven Spielberg.

They go from motion capture to a film set in one place, the terminal, from period films to

contemporary films. His newest film with Steven Spielberg is the

post. First of all, Janu, she's always great to have you here. Thanks so much for coming back.

Thanks for invitation. This is my second time, and it's always a great pleasure. Ah, I'll fix that.

You've done so many, in fact, if we do for a count, basically 11 the films you've done with Spielberg have been period films.

And the thing I'd find myself noticing looking for, in fact, and I really looked for it here in the post, is the light source.

Because light source is, you want to convey a sense of the period.

And so often in period films, I find that the light source tends to be around the center of the room or in a corner somewhere.

Yeah, it's really interesting about the period movies.

It's a little bit more, it's very interesting because it sometimes gets a little bit complicated

as far as creating the period in motion picture.

I've always looked at the sets and the props and the environment, the costumes, you know,

and then I try to think,

what would this look like if I was there during that time? To some degree, you really don't have to do much because you're already photographing a period, certain period, whether it's

the slave rebellion, whether it's the Second World War,

this and that. So you have to use different approach than just the color of lights, you know,

and composition. You have to start thinking of what does this feel to, to the audience,

because at the end, it's always about the audience.

So we tend to beautify certain periods, particularly when you think of the 60s or when you

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