Team Deakins

SEASON 2 - EPISODE 171 - LEDs - with Jeffrey Lee, Ph.D. In this episode of the Team Deakins Podcast, we return to the world of LEDs. After speaking with Tim S. Kang (Season 2, Episode 165), we realized we had even more questions! To answer them, we invited Jeffrey Lee, Ph.D. who works at Fiilex Lighting as its Chief Product Officer to speak with us. We learn how Jeff's background in biology and physics and interest in the physical properties of light led him to work at Fiilex, and he shares what the company is doing to address the bottlenecks inhibiting further innovation in LED fixture design. Our questions run the gamut (again) on LED lighting technology, and Jeff teaches us how colour is really emitted from the fixtures. We also discuss how filmmakers and engineers deal with the spikes in a given fixture's colour spectrum, and we brainstorm future possibilities of the lights' designs. Plus, we learn the best tool to use to light worms, and we accidentally develop a new task for Jeff's intern. - This episode is sponsored by Aputure

Transcribed - Published: 10 December 2025

SEASON 2 - EPISODE 170 - Cristian Mungiu - Director In this extended episode of the Team Deakins Podcast, we speak with director Cristian Mungiu (R.M.N., GRADUATION, BEYOND THE HILLS). Cristian's films—which we deeply admire—largely focus on social issues in his native country of Romania, and though they are told in his own unique voice, his films explore problems many in the world face today. We learn how the fall of communism and Ceaușescu's regime in Cristian's youth enabled him to become a filmmaker, and he reflects on the lingering effects of the country's cinematic culture before and after the Romanian Revolution. We spend much of our conversation discovering how Cristian approaches filmmaking and cinematic storytelling, and he shares how he works on any given day in production. Cristian also reveals how his films are received by Romanian audiences, and we discuss our commitment as filmmakers to presenting the truth as we see it. Plus, Cristian lets us know what to expect in his upcoming feature, FJORD. - Recommended Viewing: R.M.N., GRADUATION, BEYOND THE HILLS - This episode is sponsored by Aputure

Transcribed - Published: 3 December 2025

SEASON 2 - EPISODE 169 - Edgar Wright - Director Director Edgar Wright (THE RUNNING MAN, SCOTT PILGRIM VS THE WORLD, SHAUN OF THE DEAD) joins us in this episode of the Team Deakins Podcast. Edgar is responsible for one of our favourite films, SHAUN OF THE DEAD, and we didn't miss the opportunity to ask as many questions about it as we could. He shares the film's connection to director Mike Leigh's (Season 1, Episode 76) work, and we learn how the film was developed during Edgar's free time while directing television at the BBC. We also learn how he got his first directing gig at the broadcaster at age 21, and he reveals the veteran crew members' reactions to discovering he wasn't a nepo baby. We later discuss his general approach to coverage, his strategy to pick up inserts, and how he protected his creative identity when he began shooting films for Hollywood. Plus, Edgar reveals why he decided to direct THE RUNNING MAN, and we learn how it differs from the previous adaptation. - Recommended Viewing: SHAUN OF THE DEAD - This episode is sponsored by Aputure

Transcribed - Published: 26 November 2025

SEASON 2 - EPISODE 168 - Ted Schilowitz - Futurist In this episode of the Team Deakins Podcast, we speak with futurist Ted Schilowitz. Ted has spent his life working in entertainment, from producing commercials in Florida to exploring virtual reality at Fox and Paramount, and we thought his perspective on the relationship between technology and entertainment could help us better understand where we might be headed. Over the course of our conversation, we discover that to think of the future, we need to remember the past, and Ted connects recent developments in technology to a number of breakthroughs he was witness to himself. We learn about Grass Valley—the video equivalent of Silicon Valley—and of the origins of the RED camera system, and Ted reveals Apple's early attempts to bring digital video to their computer systems. We also discuss modern consumer trends and our changing relationships with screens, and we learn about Kodak's missed opportunity in the prehistoric days of digital cameras. Ted later shares his observations on AI, and he makes a prediction of what we'll see over the next five years of cinema.  - This episode is sponsored by Sandstorm & Aputure

Transcribed - Published: 19 November 2025

SEASON 2 - EPISODE 167 - James Laxton - Cinematographer In this episode of the Team Deakins Podcast, we speak with cinematographer James Laxton (THE UNDERGROUND RAILROAD, ANYTHING, MOONLIGHT). If you've seen a film directed by Barry Jenkins (Season 2, Episode 156), then you've seen James' work. Throughout much of the episode, we discuss his longstanding collaborative relationship with Barry, but we also learn how James tries to fit into the visions of the other directors he's worked with. The three of us share a love for preparation, and we learn how James' prep process has evolved and also stayed the same in both his work with Barry and with other filmmakers. James later reveals his perspective on executing the sweeping camera move in the diner in the final act of MOONLIGHT, and we discuss his work using colour in ANYTHING. We also compare our experiences working in animation, and James reflects on being a terrible assistant camera in his salad years. - Recommended Viewing: ANYTHING, MOONLIGHT, MEDICINE FOR MELANCHOLY - This episode is sponsored by Aputure & Sandstorm

Transcribed - Published: 12 November 2025

SEASON 2 - EPISODE 166 - Reflections: On Cinematography - written by Roger Deakins In this special "Turning the Tables" episode of the Team Deakins Podcast, cinematographer Roberto Schaefer (Season 1, Episode 162) returns to lead us in a conversation about Roger's new memoir, Reflections: On Cinematography. In the book, Roger tells the story of his life from his childhood in rural, seaside England to the present day, and he reveals the reasoning behind many of the creative and practical decisions of numerous projects, from his early documentary work and music videos to films such as 1984, NO COUNTRY FOR OLD MEN, and 1917. In our conversation with Roberto, he asks why Roger decided to write it in the first place, and Roger shares what his ultimate intent was when putting it together. Reflections also features unseen photographs, sketches, and diagrams from Roger's personal archive, and he reflects on the process of picking and choosing which memories and films to write about. This episode will offer a small sample of what to expect in the full book, so if you like what you hear, you can place a pre-order after listening. Reflections: On Cinematography will be available on November 11, 2025 in the United States and Canada, and it will later be available in the UK on February 12, 2026. Pre-order information can be found at this link. Books ordered through the ASC store will be shipped globally while supplies last. - This episode is sponsored by Sandstorm & Aputure

Transcribed - Published: 5 November 2025

SEASON 2 - EPISODE 165 - LEDs - with Tim S. Kang In this episode of the Team Deakins Podcast, we learn about LED lighting. LEDs are now commonplace in productions, and we thought an episode about the technology and its applications could be helpful for anyone with as many questions as us. Our guest is Tim S. Kang, a cinematographer and the principal engineer for imaging applications at Aputure, and we start by learning how Tim came to work on this side of the business. He also helps us understand a number of topics, including: the history of lighting in cinema, the definition of spectrum, the evolution of LEDs, and the possibilities of lighting in post. We also discuss the efforts to institute a standard among LED fixtures, and we reflect on the historical problem cinematographers have always faced: inconsistencies with light sources. - This episode is sponsored by Aputure & Sandstorm

Transcribed - Published: 29 October 2025

SEASON 2 - EPISODE 164 - 28 YEARS LATER - with Anthony Dod Mantle In this special episode of the Team Deakins Podcast, cinematographer Anthony Dod Mantle (Season 1, Episode 68) returns to discuss his work on 28 YEARS LATER. The film was shot extensively using modified iPhones, and Anthony shares his early conversations with director Danny Boyle about the film’s intended rural setting that informed their decision to commit to using the devices. Anthony later explains how he jailbroke the iPhone’s camera system with the help of tech advisors and employees at Apple, and we discuss how the limitations of the phone forced Anthony to adjust the amount of light he used while filming. We also learn how the bar cam system actually works, and Anthony details the type of VFX work done throughout the film. We later investigate why the sequel was shot with an Alexa, and Anthony describes the elaborate build of the Bone Temple location featured prominently in both films. - Recommended Viewing: 28 YEARS LATER - This episode is sponsored by Sandstorm & Aputure

Transcribed - Published: 22 October 2025

SEASON 2 - EPISODE 163 - Iris Prize LGTBQ+ Film Festival - with Lewis Bayley In this special episode of the Team Deakins Podcast, we speak with Lewis Bayley, Industry Coordinator for the Iris Prize LGBTQ+ Film Festival. Lewis invited us to speak with him about filmmaking earlier this year, and what you’ll hear is that recorded conversation. We had the pleasure of discussing many topics with Lewis, such as the overall importance of film festivals and our longtime efforts giving back to younger generations of filmmakers. Additionally, we share a few work stories from our long careers, Roger gives a preview of what to expect in his upcoming memoir, Reflections, and James reveals the game she played with director Martin Scorsese while we were shooting KUNDUN in the Moroccan desert. The Iris Prize LGBTQ+ Film Festival is hosted annually in Cardiff, Wales with talks, panels, and screenings of shorts and features highlighting the myriad of experiences within the global LGBTQ+ community, and we were happy to be a small part of their 19th edition.  - This episode is sponsored by Aputure & Sandstorm

Transcribed - Published: 15 October 2025

SEASON 2 - EPISODE 162 - Dante Spinotti - Cinematographer In this episode of the Team Deakins Podcast, we speak with cinematographer Dante Spinotti (ANT-MAN AND THE WASP, HEAT, THE LEGEND OF THE HOLY DRINKER). During our conversation, Dante reflects on his Italian upbringing and on the formative year he spent shooting photographs in Nairobi, Kenya. Dante has also frequently shot films with director Michael Mann, and he shares a number of stories from their years of working together. While best-known for his work in Hollywood, Dante still found time to shoot films in his native country, and we specifically discuss his experiences working with director Ermanno Olmi on THE LEGEND OF THE HOLY DRINKER. Dante has also survived the Marvel movie machine, and he reflects on the changes in technology and filmmakers’ approach to filmmaking that he’s witnessed over the course of his career. We also discuss his experiences transitioning to using digital cameras, and we reflect on the value of discipline and preparation—no matter your shooting format. - This episode is sponsored by Sandstorm & Aputure

Transcribed - Published: 8 October 2025

SEASON 2 - EPISODE 161 - Atom Egoyan - Director In this episode of the Team Deakins Podcast, we speak with director Atom Egoyan (SEVEN VEILS, THE SWEET HEREAFTER, EXOTICA) in an extended conversation. Atom was born in Cairo and raised in Canada, and his young love for theatre grew to encompass filmmaking after a hard rejection in college. Throughout our winding conversation, we discuss the creation of many of his films, and Atom asks us a few questions too! Atom’s films vary in their visual styles, and he frequently collaborates with cinematographer Paul Sarossy (Season 1, Episode 111), and he reveals how they first met and how they like to work together. Atom also shares why he restructured THE SWEET HEREAFTER in post, and we discuss the power of withholding information from the audience. We also learn why Atom chose to avoid a conventional historical drama when constructing ARARAT, a film about the Armenian Genocide, and we reflect on cinema’s ability to communicate the horrors of history. - Recommended Viewing: ARARAT, THE SWEET HEREAFTER - This episode is sponsored by Aputure & Sandstorm

Transcribed - Published: 1 October 2025

SEASON 2 - EPISODE 160 - Mark Friedberg - Production Designer In this extended (and funny) episode of the Team Deakins Podcast, we speak with production designer Mark Friedberg (CAUGHT STEALING, JOKER, THE UNDERGROUND RAILROAD). A native New Yorker, it wasn’t until returning to the city after Jack Kerouac-ing around the country that Mark (and his dog) first found work in the film industry as a driver for the Woody Allen production team. Mark was eventually let out of the van, and, throughout our conversation, he reveals how he thought through many of the challenges in his long and impressive career as a designer. Mark is also a staple in Barry Jenkins’ (Season 2, Episode 156) stable of collaborators, and we learn how Mark’s daughter convinced her father to break his own rules to initially meet with the director. We also discuss technology’s place in Mark’s design process, and he shares why he rehired the millennial gamers who built MUFASA’s Africa to digitally visualize the sets of JOKER: FOLIE À DEUX before physically constructing them.  - Recommended Viewing: THE ICE STORM - This episode is sponsored by Sandstorm & Aputure

Transcribed - Published: 24 September 2025

SEASON 2 - EPISODE 159 - Michael McDonough - Cinematographer We speak with cinematographer Michael McDonough (BOSCH, SUNSET SONG, WINTER’S BONE) in this episode of the Team Deakins Podcast. If you listened to our conversation with Debra Granik (Season 2, Episode 158), then you know a bit about Michael already. He fills in what she left out, and we learn how he came to pursue filmmaking as a career after roaming around Rome on a year-long printmaking scholarship during his time in art college. We further discuss his professional partnership with Debra, and we also trade stories about working with director Michael Radford. In addition to his work in film, Michael has shot long-running television series such as FEAR THE WALKING DEAD and BOSCH, and he shares how he does the best he can given the limitations of working in the format. Michael also reflects on how BOSCH incorporates Los Angeles’ rich noir history into the show’s look, and we learn what advice he would give his younger self if he were starting out again. Among the other topics discussed in our conversation: lighting lessons learned from observing cinematographer Vilmos Zsigmond and the allure of Venice Beach in the winter. - This episode is sponsored by Aputure & Sandstorm

Transcribed - Published: 17 September 2025

SEASON 2 - EPISODE 158 - Debra Granik - Director In this extended episode of the Team Deakins Podcast, we speak with director Debra Granik (LEAVE NO TRACE, WINTER’S BONE, DOWN TO THE BONE). Debra’s films carry the traditions of social realism into the 21st century, and throughout our conversation we discuss the movement’s place in the United States and around the world, her approach to the work, and why she’s faced difficulty finding the means to shoot and distribute films that direct attention towards American poverty with clear and empathetic eyes. We also learn about the college professor and the films he screened that influenced her attitude towards filmmaking the most, and she reflects on being further inspired by the spirit of Dogme 95, a filmmaking movement co-founded by director Thomas Vinterberg (Season 1, Episode 101). We later discuss her extensive use of non-actors in her films, and she shares how the local community featured in WINTER’S BONE helped improve the film. We also reflect on the legacy and genius of Charles Dickens, and Debra answers the question, “What is the scariest four letter word in American storytelling?” - Recommended Viewing: LEAVE NO TRACE, WINTER’S BONE, DOWN TO THE BONE - This episode is sponsored by Barco & Aputure

Transcribed - Published: 10 September 2025

SEASON 2 - EPISODE 157 - Garret Dillahunt - Actor In this episode of the Team Deakins Podcast, we speak with actor Garret Dillahunt (NO COUNTRY FOR OLD MEN, THE ASSASSINATION OF JESSE JAMES, DEADWOOD). We worked with Garret on NO COUNTRY and JESSE JAMES, and we had a wonderful time catching up with him. Garret shares how he made his way from rural Washington to the graduate program for acting at NYU, and we learn why he made the leap from theatre to film and television. While trading stories from NO COUNTRY, Garret shares a humorous episode involving himself, actor Tommy Lee Jones, the Coen brothers, and a bowl of wrapped candies, and we marvel at the Coens’ ability to nudge actors into shooting their storyboards. In the latter half of our conversation, Garret recalls his experiences shooting the television series DEADWOOD, and we learn how those experiences set the tone for the rest of his career. Garret also reveals how showrunner David Milch wrote the show as they shot it, and we discuss the different strategies and approaches to coverage. Plus, we discuss dealing with imposter syndrome, and Garret reflects on the actor-in-a-supporting-role’s tricky task of trying to find the vibe on a set at 2AM. - Recommended Viewing: NO COUNTRY FOR OLD MEN, THE ASSASSINATION OF JESSE JAMES, DEADWOOD - This episode is sponsored by Aputure & Barco

Transcribed - Published: 3 September 2025

SEASON 2 - EPISODE 156 - Barry Jenkins - Director In this episode of the Team Deakins Podcast, we speak with director Barry Jenkins (MUFASA: THE LION KING, THE UNDERGROUND RAILROAD, MOONLIGHT). How did Barry get from South Florida to Hollywood? What did he learn about himself on his walkabout around the country after leaving the industry? What did Barry struggle with in the gap between the release of his debut feature and MOONLIGHT? How did he survive the gonzo shooting schedule of THE UNDERGROUND RAILROAD? Why MUFASA? Barry answers all these questions and speaks on craft, process, and so much more in this extended and enriching conversation about his life, his films, and the many years he spent not actually making anything. Barry and his film school friends Adele Romanski and Mark Ceryak also produce movies through their production company PASTEL, and we discuss why he feels it’s important to help introduce new filmmakers and new voices—particularly now. Plus, Barry reveals the premise of his unrealized Stevie Wonder time-travel script.  - Recommended Viewing: THE UNDERGROUND RAILROAD, MOONLIGHT, MEDICINE FOR MELANCHOLY - This episode is sponsored by Barco & Aputure

Transcribed - Published: 27 August 2025

SEASON 2 - EPISODE 155 - Fred Specktor - Agent In this episode of the Team Deakins Podcast, we speak with agent Fred Specktor (CAA). Fred has actually seen it all—now in his 90s, he joined the mailroom at MCA (before its dissolution) after graduating college, and he’s been in the business ever since. After a stint as movie mogul Lew Wasserman’s assistant at MCA, Fred was fired, and he recounts his journey bouncing between outfits until landing at CAA where he has represented top Hollywood talent for the past four decades. Fred’s long career as an agent is populated with moments such as networking at a car accident and attending an acting class with Jack Nicholson, and he shares many of them with us throughout the episode. We also discuss the differences in Hollywood, moviegoing, and filmmaking between today and the previous century, and we learn how he still tackles his work with verve after a lifetime on the job. Plus, Fred makes his prediction for the future of the movies. - If you enjoy listening to Fred, we recommend reading THE GOLDEN HOUR. Fred’s career and life is one of the subjects of the novel which was written by previous guest (and Fred’s son) Matthew Specktor (Season 2, Episode 146). - This episode is sponsored by Aputure & Barco

Transcribed - Published: 20 August 2025

SEASON 2 - EPISODE 154 - Tracy Letts - Actor / Writer In this episode of the Team Deakins Podcast, we speak with actor and writer Tracy Letts (AUGUST: OSAGE COUNTY, BUG, HOMELAND). Born and raised in Oklahoma, Tracy struck out for Chicago after high school to find work as an actor in the city’s active theatre scene, and we learn why Tracy began writing plays himself. We also discuss cinema’s role as a messenger for exposing the stories of the stage to rural American communities without access to the theatre, and he shares his mixed experiences adapting his plays into films, from director William Friedkin’s tense vision of BUG to the Hollywood ensemble version of his Pulitzer Prize winning play AUGUST: OSAGE COUNTY. An accomplished actor as well, Tracy reflects on seeking advice for performing for the camera from his seasoned HOMELAND castmates Claire Danes and Mandy Patinkin, and he reveals how he felt when, after being replaced on a film he had written, he was asked to act in additional scenes invented for his character. Plus, Tracy quotes a critical review that ironically sold out the remaining shows of his first play KILLER JOE.  - This episode is sponsored by Barco & Aputure

Transcribed - Published: 13 August 2025

SEASON 2 - EPISODE 153 - Steven Soderbergh - Director In this extended episode of the Team Deakins Podcast, we speak with director Steven Soderbergh (BLACK BAG, TRAFFIC, OUT OF SIGHT). Steven credits his father for giving him the movie bug, and he shares how a young adulthood shooting short films and writing spec scripts in Louisiana led to the 8-years-in-the-making overnight success of his debut feature: SEX, LIES, AND VIDEOTAPE. We spend much of the episode discussing Steven’s insights into directing and filmmaking, and he opens up about his transition into shooting his own films under the alias Peter Andrews. Steven also reflects on directing OUT OF SIGHT, recalling how he ended up with the job, when a studio note protected him from his own instinct to be lean in the film’s edit, and why he felt the movie was at stake when he went to war to cast Jennifer Lopez. Steven also stresses the importance of character and reputation in the business, and he recalls the pitfalls of acting like an egomaniac that he witnessed while crewing in his early days. We also discuss the value of establishing a basic grammar and set of rules specific to the film one is making, and Steven shares how he tries to listen to what a movie wants “itself” to be. - Recommended Viewing: OUT OF SIGHT  - This episode is sponsored by Aputure & Barco

Transcribed - Published: 6 August 2025

SEASON 2 - EPISODE 152 - Lucy Prebble - Playwright / Writer Playwright and writer Lucy Prebble (SUCCESSION, I HATE SUZIE, ENRON) joins us in this episode of the Team Deakins Podcast. Lucy’s plays frequently incorporate the physical space of the stage in the telling of the story and involve the audience in engaging and creative ways, and we were excited to talk to her about storytelling both on stage and on screen. We learn how, after a bookish childhood, she eventually found the courage to have her own plays put on, and she reflects on her experiences running her own television show and working on others’. Lucy also wrote for the amply-budgeted video game DESTINY, and she shares (as much as she’s allowed to) how the writing process works for something with that many resources. Lucy also reveals the real-world events that inspired her plays ENRON and THE SUGAR SYNDROME, and we learn how she identifies the real human relationships at the heart these stories. We also discuss the value of empathy and deadlines for a writer, and Lucy makes a prediction for the future of the theatre in the digital age. Plus, we observe that many of history’s greatest writers were really just frustrated actors. - This episode is sponsored by Barco & Aputure

Transcribed - Published: 30 July 2025

SEASON 2 - EPISODE 151 - Dave Freeth - Inventor of the Stabileye In this episode of the Team Deakins Podcast, we speak with Dave Freeth, a recipient of a Scientific and Engineering Award by the Academy of Motion Picture Arts and Sciences for the invention of the Stabileye. The Stabileye is a remotely-operated, motorized camera stabilization system, and we used the equipment extensively on 1917 to pull the film off. Dave originally started out in an apprenticeship for watchmaking but soon found himself working for the Ministry of Defence until making the transition into the film industry. We asked Dave to come on the podcast to discuss the Stabileye’s inception and design, and he describes the underlying mechanics that not only power the Stabileye but other stabilization systems in use today. We talk about gyroscopes, satellites, lasers, and even gravity! He also shares how the Stabileye is adapting to newer camera models, and he reveals some surprising potential developments in sensor technology. We learn a lot in this episode, and we were excited to celebrate Dave’s recent recognition with him.  - This episode is sponsored by Aputure & Barco

Transcribed - Published: 23 July 2025

SEASON 2 - EPISODE 150 - A LOOK AT TWO INSPIRATIONAL FILMS - with Joe Walker - Part 2 In this episode of the Team Deakins Podcast, we finish our two-part conversation with editor Joe Walker (Season 1, Episode 35) about two of our favourite films: Richard Brooks’ IN COLD BLOOD and Jean-Pierre Melville’s ARMY OF SHADOWS. Following the previous episode, we shift our focus towards ARMY OF SHADOWS, contrasting the film’s measured pacing with the rapidity of its violence that punctuates several points in the story. We reflect on the emotional effect of the movie’s unique sense of rhythm and handmade nature, and we discuss the use (and absence) of music throughout the film. We also reflect on the film’s near-lack of inserts and intimacy, and we share how the film successfully adapts the essence of the book from which it is based despite making several story changes. Roger was in college at the time of both films’ theatrical runs, and he shares what it was like watching them with contemporary audiences. Later, Joe reveals why he and director Denis Villeneuve (Season 1, Episode 25) vary their film diet and watch “slower” films such as ARMY OF SHADOWS to refresh their brains, and Joe observes that fisherman make great camera operators. - Recommended Viewing: IN COLD BLOOD (1967), ARMY OF SHADOWS (1969) - This episode is sponsored by Barco & Aputure

Transcribed - Published: 16 July 2025

SEASON 2 - EPISODE 149 - A LOOK AT TWO INSPIRATIONAL FILMS - with Joe Walker - Part 1 In this episode of the Team Deakins Podcast, editor Joe Walker (Season 1, Episode 35) returns for the first half of a two-part discussion about the filmmaking behind two of our favourite films: Richard Brooks’ IN COLD BLOOD and Jean-Pierre Melville’s ARMY OF SHADOWS. The films may contrast in their expression of cinematic storytelling with each other and with films made today, but we find, over the course of these two episodes, that both films share and build on the fundamental elements of what makes a movie, a movie. This episode focuses on IN COLD BLOOD, and we discuss how the film frequently subverts expectations through its structure, cinematography, and editing. Joe also breaks down composer Quincy Jones’ evocative score, and he reveals how the film radically flew in the face of a soon-to-be-abandoned Hays Code. Additionally, we look at the innovations in filmmaking technologies and techniques from cinema’s youth to the 1960s, and Joe presents his theory of the 30-year-cycle of evolution in the film industry. Plus, we take a moment to consider the links between Soviet propaganda’s understanding of montage and the modern analytics and algorithms that manipulate how images are presented on the internet today.  - Recommended Viewing: IN COLD BLOOD (1967), ARMY OF SHADOWS (1969) - This episode is sponsored by Aputure & Barco

Transcribed - Published: 9 July 2025

SEASON 2 - EPISODE 148 - Pulling a Film Together - with Paula McGann In this episode of the Team Deakins Podcast, we speak with Paula McGann (1917, DARKEST HOUR, MIDNIGHT SKY). We had the pleasure of working with Paula on 1917, and we asked her to come on the podcast to discuss the work that goes into pulling a film together nowadays. Paula—after years of working for directors, producers, and in several departments on numerous films—has recently begun producing herself, and with several projects in various stages of development, we thought her perspective would be valuable to hear and share. Paula teaches us what the film marketplace actually is, and we explore several hypothetical situations such as breaking down a script without a director’s vision and handling a financier’s creatively disruptive note. Paula also shares an experience in which a project was taken away from her, and we discuss practicing resilience in a business of ups and downs. Throughout the episode, we discuss mentors, budgeting, sales agents, putting yourself out there, and finding your own way in the business. - This episode is sponsored by Profoto & Aputure

Transcribed - Published: 2 July 2025

SEASON 2 - EPISODE 147 - Turning the Tables - TRUE GRIT - David Mullen Cinematographer David Mullen (Season 1, Episode 83 & Season 2, Episode 113) returns for a new edition of the “Turning the Tables” series in this episode of the Team Deakins Podcast. David’s questions center around our work on the Coen Brothers’ 2010 version of TRUE GRIT, and we had a wonderful time answering them. In addition to the questions concerning how we actually made the film, we also discuss the long history of westerns and the visual variety within the genre. We also reveal the story behind the push-in in the opening shot of the film, what was on location and what was on stage, and how we shot the river crossing scene. We later reflect on working with then-child actor Hailee Steinfeld, and we discuss the script’s unique and engaging dialogue. We also reflect on the utility of cowboy hats and on the visual strength of westerns directed by John Ford and Sergio Leone, and we swap stories from our early-career, low-budget exterior shoots. Topics also include: film stocks, aspect ratios, lighting locations and sets, and nighttime nightmares shooting a black mare against a black sky. - Recommended Viewing: TRUE GRIT (2010) - This episode is sponsored by Aputure & Profoto

Transcribed - Published: 25 June 2025

SEASON 2 - EPISODE 147 - Turning the Tables - TRUE GRIT - David Mullen Cinematographer David Mullen (Season 1, Episode 83 & Season 2, Episode 113) returns for a new edition of the "Turning the Tables" series in this episode of the Team Deakins Podcast. David's questions center around our work on the Coen Brothers' 2010 version of TRUE GRIT, and we had a wonderful time answering them. In addition to the questions concerning how we actually made the film, we also discuss the long history of westerns and the visual variety within the genre. We also reveal the story behind the push-in in the opening shot of the film, what was on location and what was on stage, and how we shot the river crossing scene. We later reflect on working with then-child actor Hailee Steinfeld, and we discuss the script's unique and engaging dialogue. We also reflect on the utility of cowboy hats and on the visual strength of westerns directed by John Ford and Sergio Leone, and we swap stories from our early-career, low-budget exterior shoots. Topics also include: film stocks, aspect ratios, lighting locations and sets, and nighttime nightmares shooting a black mare against a black sky. - Recommended Viewing: TRUE GRIT (2010) - This episode is sponsored by Aputure & Profoto

Published: 25 June 2025

SEASON 2 - EPISODE 146 - Matthew Specktor - Author Author Matthew Specktor joins us in this episode of the Team Deakins Podcast. In his recently released memoir, THE GOLDEN HOUR, Matthew, the son of legendary talent agent Fred Specktor, uses his parents’ divergent professional and personal lives to reflect on the film industry as it was, and he writes about his own life and career in and around the movies to reflect on what it has become. After reading it (and Matthew’s other novels), we felt we had to speak with him. What follows in this episode is a wide-ranging and lively conversation about Matthew’s life, his and our views on the changes in the film business and in the films themselves, cinema’s place in society, and the genuine love for Hollywood that comes out in his writing. We also discuss the changing economics of funding films, the shifts in who wields power in Hollywood, and Matthew details the brief window in the 1960s and 1970s in which filmmakers were afforded a relative freedom not seen since. In THE GOLDEN HOUR, Matthew at times places us inside the minds of industry figureheads such as Lew Wasserman and Michael Ovitz, and Matthew shares how understanding the men who changed the film industry can help us better understand where we are today. We also reflect on the all-consuming lifestyle of working in Hollywood, and Matthew likens it to being trapped in a casino at two in the morning—forever. Plus, Matthew shares what it was like learning how to write from a uniquely qualified professor: James Baldwin.  - Recommended Reading: THE GOLDEN HOUR - This episode is sponsored by Profoto & Aputure 

Transcribed - Published: 18 June 2025

SEASON 2 - EPISODE 145 - Deliverables and Preserving Authorial Intent - with Steve Yedlin In this episode of the Team Deakins Podcast, cinematographer Steve Yedlin (Season 2, Episode 72) returns to talk with us about deliverables and preserving authorial intent in post-production. Throughout the episode, we tap into Steve's deep well of technical knowledge, and we make frequent reference to Steve's publicly available demonstration on what HDR really is and how it has affected the colour timing stage of post. We get into the weeds during our conversation, and we try to make sense of the growing number of variables, units of measurement, and home-video viewing options we're forced to contend with as filmmakers in the digital age. We also look at how our level of control over home-viewing deliverables has changed since the VHS days, and we attempt to peek into what the future may hold for us as technology and audience expectations continue to evolve. Towards the end of our conversation, we discuss the economic realities of restoring old films, and Steve offers his best advice to any young (or older!) filmmaker feeling overwhelmed by the endless technical jargon. Plus, we find some surprising and relevant wisdom within THIS IS SPINAL TAP. - We highly recommend watching Steve's demonstration on HDR for an even deeper investigation into the topics discussed in this episode. Tap here to watch. - This episode is sponsored by Aputure & Profoto

Published: 11 June 2025

SEASON 2 - EPISODE 145 - Deliverables and Preserving Authorial Intent - with Steve Yedlin In this episode of the Team Deakins Podcast, cinematographer Steve Yedlin (Season 2, Episode 72) returns to talk with us about deliverables and preserving authorial intent in post-production. Throughout the episode, we tap into Steve’s deep well of technical knowledge, and we make frequent reference to Steve’s publicly available demonstration on what HDR really is and how it has affected the colour timing stage of post. We get into the weeds during our conversation, and we try to make sense of the growing number of variables, units of measurement, and home-video viewing options we’re forced to contend with as filmmakers in the digital age. We also look at how our level of control over home-viewing deliverables has changed since the VHS days, and we attempt to peek into what the future may hold for us as technology and audience expectations continue to evolve. Towards the end of our conversation, we discuss the economic realities of restoring old films, and Steve offers his best advice to any young (or older!) filmmaker feeling overwhelmed by the endless technical jargon. Plus, we find some surprising and relevant wisdom within THIS IS SPINAL TAP. - We highly recommend watching Steve’s demonstration on HDR for an even deeper investigation into the topics discussed in this episode. Tap here to watch. - This episode is sponsored by Aputure & Profoto

Transcribed - Published: 11 June 2025

SEASON 2 - EPISODE 144 - Philip Barantini - Director In this episode of the Team Deakins Podcast, we speak with director Philip Barantini (ADOLESCENCE, BOILING POINT, ACCUSED). Originally from Liverpool, Philip couldn’t have felt further away from the film industry, but after developing an interest in drama and acting, he soon found himself as a working actor. After dropping out of the business and regaining his sobriety, he eventually overcame his self-doubt and built his career as a director from the ground up. Philip shares how he made the jump from making shorts to developing the television series BOILING POINT, and we learn how he found financing for the project and executed the single-shot aesthetic just as the world was shutting down at the beginning of the COVID-19 pandemic. We later learn about the genesis and development of ADOLESCENCE, and Philip reflects on the extensive rehearsal process for each episode. Philip also reveals how he created an environment within each episode that empowered the show’s actors to improvise, and he shares how young actor Owen Cooper exceeded all expectations for his first role in front of the camera. - Recommended Viewing: ADOLESCENCE  - This episode is sponsored by Profoto & Aputure

Transcribed - Published: 4 June 2025

SEASON 2 - EPISODE 143 - Phil Alden Robinson - Writer / Director In this episode of the Team Deakins Podcast, we speak with writer and director Phil Alden Robinson (THE GOOD FIGHT, THE SUM OF ALL FEARS, FIELD OF DREAMS) about many of his films. Phil was initially interested in politics and journalism, but he eventually made his way to Los Angeles and found his way into a writer’s room based on the strength of a spec script. Phil soon found two of his feature scripts in production, and he reflects on the impact of being treated as badly as possible and as well as possible simultaneously. Later, Phil breaks down how FIELD OF DREAMS came together as a project, and we learn how he overcame an overwhelming sense of stress through the support of his cast and key crew members, including cinematographer John Lindley (Season 1, Episode 34) and production designer Dennis Gassner (Season 1, Episode 131). In addition to his work in features, Phil also directed documentaries for Nightline in a number of war zones, and we discuss the value of living life and taking time off from making movies. We also discuss the ubiquitousness of VFX in cinema today, and Phil shares what he feels to be the real lesson to take away from a film like the original STAR WARS. - Recommended Viewing: FIELD OF DREAMS, THE SUM OF ALL FEARS - This episode is sponsored by Aputure & Profoto

Transcribed - Published: 28 May 2025

SEASON 2 - EPISODE 142 - Michael Shannon - Actor Actor Michael Shannon (THE BIKERIDERS, GEORGE & TAMMY, MAN OF STEEL) joins us in this episode of the Team Deakins Podcast. We worked with Michael on REVOLUTIONARY ROAD, and we had a wonderful time catching up with him. Michael shares how he first stumbled into acting, which early-career play of his took him from a tiny theatre in Chicago to the West End and Off-Broadway, and why the experience of actors coming up today is so unlike his own. We also discuss his longtime collaborative relationship with director Jeff Nichols (Season 1, Episode 28), and we reflect on his penchant for projects concerning the end of the world. We also discuss his work in TAKE SHELTER, and we learn how Michael coped with sleeping in an abandoned building during the shoot. Throughout the conversation, Michael shares his opinions on rehearsing, remaining in character after a long day, and repetitive takes, and after learning Michael just directed his first film, we ask if his perspective as an actor has changed at all. - Recommended Viewing: TAKE SHELTER - This episode is sponsored by Profoto & Aputure

Transcribed - Published: 21 May 2025

SEASON 2 - EPISODE 141 - DP & VFX Relationship - with Greig Fraser & Paul Lambert In this episode of the Team Deakins Podcast, cinematographer Greig Fraser (Season 1, Episodes 29, 57, 63, 69 & Season 2, Episodes 50, 51, 100) and VFX supervisor Paul Lambert (Season 1, Episode 107) return to talk about the modern relationship between the cinematography and visual effects departments. Throughout the episode, we frequently refer to Paul's and Greig's collaboration on both DUNE films, and they reveal how they realized several scenes and overcame the endless challenges of shooting the film with the support of one another. They share why they utilized painted backings to assist in set extension over blue screens or LED walls, and we later swap strategies for figuring out how to maintain the illusion of a flying helicopter. Greig also reveals what makes him proud about a particular all-CG shot in DUNE: PART II, and Paul breaks down what an audience really means when they see "bad CGI" in a film. Towards the end, we discuss the merging of animation and live-action filmmaking, and we look ahead to what the future may bring. - Recommended Viewing: DUNE (2021), DUNE: PART II (2024) - This episode is sponsored by Aputure & Profoto

Published: 14 May 2025

SEASON 2 - EPISODE 141 - DP & VFX Relationship - with Greig Fraser & Paul Lambert In this episode of the Team Deakins Podcast, cinematographer Greig Fraser (Season 1, Episodes 29, 57, 63, 69 & Season 2, Episodes 50, 51, 100) and VFX supervisor Paul Lambert (Season 1, Episode 107) return to talk about the modern relationship between the cinematography and visual effects departments. Throughout the episode, we frequently refer to Paul’s and Greig’s collaboration on both DUNE films, and they reveal how they realized several scenes and overcame the endless challenges of shooting the film with the support of one another. They share why they utilized painted backings to assist in set extension over blue screens or LED walls, and we later swap strategies for figuring out how to maintain the illusion of a flying helicopter. Greig also reveals what makes him proud about a particular all-CG shot in DUNE: PART II, and Paul breaks down what an audience really means when they see “bad CGI” in a film. Towards the end, we discuss the merging of animation and live-action filmmaking, and we look ahead to what the future may bring. - Recommended Viewing: DUNE (2021), DUNE: PART II (2024) - This episode is sponsored by Aputure & Profoto

Transcribed - Published: 14 May 2025

SEASON 2 - EPISODE 140 - Jon Alexander - Compositing Supervisor In this episode of the Team Deakins Podcast, we speak with compositing supervisor and visual effects artist Jon Alexander (DEADPOOL & WOLVERINE, AVENGERS: AGE OF ULTRON, THE PHANTOM MENACE). Jon was witness to a number of milestones in the history of visual effects, and throughout the episode, Jon shares numerous stories from his long career at Industrial Light & Magic (ILM), granting us insight into a time he likens to as the Italian Renaissance. From optical printers to artificial intelligence, Jon shares his experiences working with the many pieces of technology responsible for manipulating images, and he reveals the level of focus he and his colleagues at ILM shared when it came to problem-solving (even during an earthquake!). In addition to his work in film, Jon has also worked on projects for The Sphere in Las Vegas, and he shares what he believes to be the distinctive traits of and the possible uses for the new technology. Jon also reveals what he saw as a groundbreaking advancement in visual effects while working on HOWARD THE DUCK, and we compare past and present VFX techniques. Plus, we break down how optical visual effects are actually made. - This episode is sponsored by Profoto & Aputure

Transcribed - Published: 7 May 2025

SEASON 2 - EPISODE 139 - Camera Movement - with Tom Cross & Ed Lachman In this special episode of the Team Deakins Podcast, editor Tom Cross (Season 1, Episodes 129 & 139) and cinematographer Ed Lachman (Season 1, Episode 77 & Season 2, Episode 132) return to join us in a discussion about camera movement. From Douglas Sirk's sweeping camera moves to Robert Bresson's measured stillness, the four of us bring up examples of when camera movement (or its lack thereof) affects us, and we discuss why we believe choosing when and how to move the camera all comes down to what feels emotionally right for the story. When our conversation inevitably turns to 1917, we reflect on the variety of camera moves within the "single shot" of the film, and we discuss how the contrast of a camera move that diverges from a film's established language can more appropriately express character and a beat within the story. Ed also shares the unique method of filming practiced by studio era director George Stevens, and Tom reveals how he and director Damien Chazelle (Season 2, Episode 23) restitched the roaming camera move of the opening musical number in LA LA LAND. Throughout the episode, we draw on our own experiences as filmmakers and from our observations on a myriad of films across film history, and the conversation evolves to cover the relationship between editing and cinematography. A big thank you to Ed and Tom for coming back to talk with us! - This episode is sponsored by Aputure & Profoto

Published: 30 April 2025

SEASON 2 - EPISODE 139 - Camera Movement - with Tom Cross & Ed Lachman In this special episode of the Team Deakins Podcast, editor Tom Cross (Season 1, Episodes 129 & 139) and cinematographer Ed Lachman (Season 1, Episode 77 & Season 2, Episode 132) return to join us in a discussion about camera movement. From Douglas Sirk’s sweeping camera moves to Robert Bresson’s measured stillness, the four of us bring up examples of when camera movement (or its lack thereof) affects us, and we discuss why we believe choosing when and how to move the camera all comes down to what feels emotionally right for the story. When our conversation inevitably turns to 1917, we reflect on the variety of camera moves within the “single shot” of the film, and we discuss how the contrast of a camera move that diverges from a film’s established language can more appropriately express character and a beat within the story. Ed also shares the unique method of filming practiced by studio era director George Stevens, and Tom reveals how he and director Damien Chazelle (Season 2, Episode 23) restitched the roaming camera move of the opening musical number in LA LA LAND. Throughout the episode, we draw on our own experiences as filmmakers and from our observations on a myriad of films across film history, and the conversation evolves to cover the relationship between editing and cinematography. A big thank you to Ed and Tom for coming back to talk with us! - This episode is sponsored by Aputure & Profoto

Transcribed - Published: 30 April 2025

SEASON 2 - EPISODE 138 - Suzie Davies - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Suzie Davies (CONCLAVE, SALTBURN, MR. TURNER). Suzie once thought she’d be a sheep farmer, but after working for model-makers on commercials, she found herself drawn to the art department and filmmaking. A frequent collaborator with director Mike Leigh (Season 1, Episode 76), Suzie reveals how they first met and how she works with him within his unique process. We also learn how the boundaries of production inform Suzie’s general approach to design, and she shares how she tries to help directors realize their creative visions within these limits. Later, Suzie reflects on the challenge of finding period locations in the modern world, and we discuss how she augments locations to suit the film’s reality. Suzie also shares what made the estate in SALTBURN so unique as a location, and we learn how she balanced the production of that film with weekend location scouts in Rome for CONCLAVE. Throughout the episode, Suzie reflects on how she made the most of the opportunities presented to her throughout her career, and we discuss the enduring appeal of being just a sheep farmer. - This episode is sponsored by Aputure

Transcribed - Published: 23 April 2025

SEASON 2 - EPISODE 137 - Stefan Nikolov - Location Manager Location manager Stefan Nikolov (SOMEBODY SOMEWHERE, JUSTIFIED: CITY PRIMEVAL, SHAMELESS) joins us in this episode of the Team Deakins Podcast. Originally from Bulgaria, Stefan followed his journalist parents around the world before landing in Chicago where he has since built a career in the locations department. We discuss how he worked his way up the ladder, and Stefan breaks down the different roles in the department. Throughout our conversation, Stefan shares many stories from his career, and we learn what to do when an alligator hunt prevents the crew from parking the vans where you need them. We also learn about the potential consequences of living in a home made famous on television, and we discuss why a film would come to Chicago to shoot for another real-world location. And at the end, Stefan gives his advice to anyone trying to break into the locations department. This episode was recorded in front of a live audience in Chicago at the Athenaeum Center.  - This episode is sponsored by Aputure

Transcribed - Published: 16 April 2025

SEASON 2 - EPISODE 136 - Judy Becker - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Judy Becker (THE BRUTALIST, CAROL, BROKEBACK MOUNTAIN). Judy’s love for art and collaboration began at the age of 3 and developed throughout her childhood, and after discovering the theatre department in high school, she found her way into the New York filmmaking scene. Having worked in a number of projects across many different periods of history, Judy shares how she approaches bringing those spaces to life, and we reflect on the fact that absolute accuracy to a period doesn’t always look real on the screen. Later, during our discussion of her work on THE BRUTALIST, Judy reflects on the challenges of communicating with a crew whose language is nothing like her own, and she reveals how they fought for scraps of plywood and found (and built) post-war America in Hungary. Judy also shares how she approached designing The Institute—the architectural centerpiece of the film—and she reveals how they used the scale model they built in the actual shoot. We also discuss the differences between working on location and in a stage, and Judy shares the creative attraction to working on producer Ryan Murphy’s many television shows. - This episode is sponsored by Aputure

Transcribed - Published: 9 April 2025

SEASON 2 - EPISODE 135 - Simon Hayes - Production Sound Mixer In this episode of the Team Deakins Podcast, we speak with production sound mixer Simon Hayes (WICKED, LES MISERABLES, SHAUN OF THE DEAD). At 14, Simon followed his father to set to learn sound. At 15, he then won the European BMX Championship. And at 16, he quit school, immersed himself in the industry, and honed his skills during the boom times of British commercials. Simon shares how early-career nights at Soho bars led to his professional relationships with directors Guy Ritchie and Matthew Vaughn, and we discuss the lessons he learned about protecting live performances on those early films. Simon  reveals how an idea from Meryl Streep changed the approach to recording the songs of MAMMA MIA!, and he later shares his own views on the effectiveness of boom mics and radio mics. Simon also reveals how they actually recorded the live vocals of LES MISERABLES without pre-recorded backing tracks, and he reflects on how his experiences in recording studios enabled him and his team to coordinate the complex musical numbers in WICKED with seasoned recording artists and leading actresses Cynthia Erivo and Ariana Grande. Plus, Simon reveals where he hid Elphaba’s radio mic. - This episode is sponsored by Aputure

Transcribed - Published: 2 April 2025

SEASON 2 - EPISODE 134 - Nathan Crowley - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Nathan Crowley (WICKED, DUNKIRK, INTERSTELLAR). After growing up in England, Nathan’s dreams of selling secondhand sports cars in LA were cut short after a run in with set designer and fellow countryman Joe Hodges at a bar outside Paramount, and we learn how Nathan dove headfirst into the art department after assisting Joe on HOOK. Nathan later shares how he made the jump to heading the department himself, and we discuss his approach to production design throughout the episode. We uncover the reasoning behind the aesthetic choices of DUNKIRK, and Nathan shares how he accounted for the practicalities of filmmaking during a globetrotting location scout to help realize the vision of INTERSTELLAR. In the back half of the episode, we discuss Nathan’s recent work on WICKED, and he shares what attracted him to the film and what scared him about designing one of the most well-known worlds in the American imagination, and he reveals how Donna Langley, the head of the studio, helped convince production to plant millions of tulips for the film. Plus, Nathan shares a key lesson he learned while working with director Michael Mann about following his instincts. - This episode is sponsored by Aputure

Transcribed - Published: 26 March 2025

SEASON 2 - EPISODE 133 - Lisy Christl - Costume Designer In this episode of the Team Deakins Podcast, we speak with costume designer Lisy Christl (CONCLAVE, ALL QUIET ON THE WESTERN FRONT, FUNNY GAMES). Originally from Bavaria, Lisy did just about everything she could do to avoid the film industry, and she shares several moments from her career when other filmmakers would not take her “no” as an answer. Lisy later reflects on her 10-year-long collaboration with director Michael Haneke, and she reveals the inspiration for the all-white outfits of the two men in FUNNY GAMES. We also discuss Lisy’s work on CONCLAVE, and she reveals what inspired her to adjust the typical garb worn by the cardinals. During our discussion of her work in TIME OF THE WOLF, Lisy shares the costuming decision she made to bring the audience to the present in a scene that recalled a scenario out of the Middle Ages, and she reveals the lengths she and her team went to design silent puffy jackets out of consideration for the sound department. We also discuss Lisy’s work in ALL QUIET ON THE WESTERN FRONT, and she describes how and why she empowered herself to make choices that may not have been exactly period appropriate. - This episode is sponsored by Aputure

Transcribed - Published: 19 March 2025

SEASON 2 - EPISODE 132 - Post - with Ed Lachman In this special episode of the Team Deakins Podcast, cinematographer Ed Lachman (Season 1, Episode 77) joins us to talk about post-production from the point-of-view of a cinematographer. Throughout the episode, Ed shares a bounty of his own observations regarding colour, luminosity, and depth of field, and we share our own perspectives on the perceived effects of anamorphic and spherical lenses. We later discuss the fatiguing effect of a monotonous montage of dark images, and Ed reveals a recent revelation about the relationship between resolution and colour. We also discuss the different (and complicated) methods of mimicking film in digital images, and we reflect on the importance of making your image look the way you want in-camera. We also ask Ed what he might do differently today to achieve the same Douglas Sirk-inspired look of Todd Haynes’ FAR FROM HEAVEN, and Ed even brainstorms what he might do on his upcoming film shooting later this year. - This episode is sponsored by Aputure

Transcribed - Published: 12 March 2025

SEASON 2 - EPISODE 131 - Ben Davis - Cinematographer In this episode of the Team Deakins Podcast, we speak with cinematographer Ben Davis (THE BANSHEES OF INISHERIN, GUARDIANS OF THE GALAXY, LAYER CAKE). During our conversation, we talk all things cinematography, and we learn what it was about a film set that initially appealed to a younger Ben. We also discuss the importance of knowing how a film is going to be cut, and Ben reflects on his path working up the grades of the camera department. A frequent collaborator with director Martin McDonagh (Season 2, Episode 19), Ben shares how he and Martin typically prep, and he describes their process for working on THE BANSHEES OF INISHERIN. We also discuss how Ben balances shooting with multiple cameras, and he compares the experiences of shooting on films with many resources against those with much fewer. We later discuss the pitfalls of pre-vis, and we reflect on the different practices of manipulating film stock and digital footage. Plus, Ben shares his best impression of producer Dino De Laurentiis - This episode is sponsored by Aputure

Transcribed - Published: 5 March 2025

SEASON 2 - EPISODE 130 - Peter Kurland - Production Sound Mixer Production sound mixer Peter Kurland (THE BALLAD OF BUSTER SCRUGGS, NO COUNTRY FOR OLD MEN, WALK THE LINE) joins us in this episode of the Team Deakins Podcast. We’ve worked with Peter many times over the years, and we had a wonderful time catching up with him. In the beginning of the episode, Peter shares the two versions of his origin story, both of which begin in Nashville, and we learn how he was repeatedly enlisted in roles in the sound department without any training. A former boom op, Peter also fills us in on the subtle differences between boom mics and radio mics, and we learn how Peter communicates potential sound problems to a director and to production at large. Peter also shares how he best fulfills requests from post-production, and we discuss how we try to capture what the director wants, even when they don’t want to think about it. And, at the end, Peter shares his thoughts on recent changes in the film industry. - This episode is sponsored by Aputure

Transcribed - Published: 26 February 2025

SEASON 2 - EPISODE 129 - Brad Ingelsby - Writer Writer Brad Ingelsby (MARE OF EASTTOWN, THE WAY BACK, OUT OF THE FURNACE) joins us in this episode of the Team Deakins Podcast. A self-professed overwriter, Brad shares his personal approach to screenwriting, and we break down the parts of a story we like the most as viewers and as filmmakers. We later discuss the ever-shifting nature of a script from prep through post-production, and Brad shares how he thinks about when to reveal pieces of information that lead to the most effective telling of a story. We also ask Brad about THE DYNAMITER, an early film in his career, and he shares how the film evolved from an AFI thesis film into a full feature. We also reflect on the role of research in screenwriting, from spending time in a particular community to convincing its members to tell you what’s wrong with your script, and Brad shares how he tries to integrate resources from a specific area into the actual shoot of a project. Brad also compares writing for film against writing for television, and, at the end, we ask Brad what advice he would give to a young screenwriter today. - This episode is sponsored by Aputure

Transcribed - Published: 19 February 2025

SEASON 2 - EPISODE 128 - Deadliest Catch - Arom Starr-Paul & David Reichert In this special episode of the Team Deakins Podcast, we're talking about one of our favourite shows: DEADLIEST CATCH. Executive producer Arom Starr-Paul and cinematographer David Reichert join us for a lengthy discussion and generously answer our many questions about how the show actually gets made. We first learn how both men made their way to the Bering Sea as camera operators and worked their way into their current roles after many years. Later, Arom shares how the show's storytelling evolves over the course of a season and how the crew identifies which storylines to follow out at sea. David also highlights the day-to-day responsibilities of the cameramen and women on the boats and reveals how he coordinates the look of the show across the huge fleet of crabbing boats featured in every season, and we learn how they sift through 40,000 hours of footage down to just 20. Roger also compares his fishing strategies with those in the fleet from the show, and we reflect on the ecological changes in the oceans and in the practices of fisheries. - This episode is sponsored by Aputure

Published: 12 February 2025

SEASON 2 - EPISODE 128 - Deadliest Catch - Arom Starr-Paul & David Reichert In this special episode of the Team Deakins Podcast, we’re talking about one of our favourite shows: DEADLIEST CATCH. Executive producer Arom Starr-Paul and cinematographer David Reichert join us for a lengthy discussion and generously answer our many questions about how the show actually gets made. We first learn how both men made their way to the Bering Sea as camera operators and worked their way into their current roles after many years. Later, Arom shares how the show’s storytelling evolves over the course of a season and how the crew identifies which storylines to follow out at sea. David also highlights the day-to-day responsibilities of the cameramen and women on the boats and reveals how he coordinates the look of the show across the huge fleet of crabbing boats featured in every season, and we learn how they sift through 40,000 hours of footage down to just 20. Roger also compares his fishing strategies with those in the fleet from the show, and we reflect on the ecological changes in the oceans and in the practices of fisheries. - This episode is sponsored by Aputure

Transcribed - Published: 12 February 2025

SEASON 2 - EPISODE 127 - Adrien Brody - Actor Actor Adrien Brody (THE BRUTALIST, SUMMER OF SAM, THE PIANIST) joins us in this episode of the Team Deakins Podcast. We worked with Adrien on THE VILLAGE, and it was great catching up with him. Early in our sprawling conversation about his career and his craft, we discuss what he learned as a young actor working with directors of great caliber—from Juan José Campanella (Season 2, Episode 80) to Spike Lee and Ken Loach—that led to his lauded performance in THE PIANIST. Later in our discussion of THE BRUTALIST, Adrien reflects on his collaboration with director Brady Corbet and shares what his first concern as a performer was when told the film would be shot on loud VistaVision cameras, and Adrien reveals the personal family history that informed his moving performance and shares how he and his fellow filmmakers pulled the film off with relatively limited resources. Towards the end our conversation, we also consider actors’ and cinematographers’ reliance on others to reach creative fulfillment, and we ask Adrien if he thinks it’s possible to learn how to act. Plus, Adrien explains how to jury-rig a polaroid camera battery into a makeshift hand warmer. - This episode is sponsored by Aputure

Transcribed - Published: 5 February 2025