Team Deakins

SEASON 2 - EPISODE 107 - PETER JAMES - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, cinematographer Peter James (MAO'S LAST DANCER, BLACK ROBE, DRIVING MISS DAISY) joins us to talk about his career. Growing up in Sydney, Australia, Peter spent five years in his youth working at a small studio working on commercials and local television programs before finding his to working on features. Peter shares his process for overcoming his dyslexia to break down scripts, and at one point in the conversation, he even teaches us a new lighting trick. Peter later discusses how he and the crew battled the elements to shoot the colonial-era set BLACK ROBE on location in the Canadian wilderness. Towards the end, we conduct some forensics on Peter's IMDb page, and we reflect on the power of the inverse-square law. - Recommended Viewing: BLACK ROBE - This episode is sponsored by Aputure

SEASON 2 - EPISODE 106 - TRISTAN OLIVER - CINEMATOGRAPHER In this episode of the Team Deakins Podcast, we speak with cinematographer Tristan Oliver (ISLE OF DOGS, PARANORMAN, CHICKEN RUN). Tristan generously shares his extensive knowledge of stop-motion animation with us, and we spend the majority of the episode learning the ins and outs of shooting 9-inch puppets in a warehouse. Tristan reveals how he (and up to 50+ active units) prepares the lights and cameras for scenes in such a way that doesn't impede upon the work of the animators physically bringing the characters to life, and we discuss the effectiveness of applying the principles and practices of live-action cinematography into the world of animation. In addition to his work in stop-motion animation, Tristan has contributed to live-action projects such as POOR THINGS and the uniquely realized LOVING VINCENT, and he reflects on his experiences in both projects. In the back half of our conversation, Tristan shares how he really felt working with director Wes Anderson on FANTASTIC MR. FOX and ISLE OF DOGS, from learning how to work together on the former to engaging in a battle of wits over the feasibility of deep focus in the latter, and we learn in which films Tristan sees the most of himself. At the end, we close our conversation with an appreciation for the enduring quality of that which is handmade over that which is merely manufactured. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 105 - Turning the Tables: "Our Partnership" - with Rick Carter Production designer Rick Carter (Season 2, Episode 95) returns to the Team Deakins Podcast for a special episode in which Rick turns the tables, and his questions, towards us. The focus of his questioning? Our partnership as Team Deakins. Rick mines the origins of our relationship and helps illuminate why Team Deakins works as well as it does, and we discuss how, as storytellers, we collaborate with one another and our fellow crew members to help visualize a film. James shares how she leverages her addiction to solving problems as an asset for the crew, and Roger reflects on how his total trust in James enables him to be in two places at once. Rick later steers the conversation towards the intuitive aspects of filmmaking, and we discuss the importance of keeping one's head straight during a shoot. Rick also expands the scope of our discussion to include the entire production, and we reflect on the magical energy of a crew working together in service of a clear vision as a unified creative unit. Towards the end, we also discuss the nature of the podcast as a means of communication, and we marvel at the fact that we've yet to actually meet Rick in person. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 104 - STEVE DUNN - ASSISTANT DIRECTOR Assistant director Steve Dunn (WALK THE LINE, A LITTLE PRINCESS, DANCES WITH WOLVES) joins us on this episode of the Team Deakins Podcast to discuss his life and career in a candid conversation. Steve fell in love with film as a child living in Venezuela, and after returning to America, he ended up convincing his university professors to accept course-specific short films in place of term papers. After graduating from USC, Steve drove off to Atlanta and landed a two-week PA gig alongside the GUNSMOKE crew on a mercenary job during the classic show's break in schedule. Steve later reveals how he made the transition from low-budget filmmaking in middle America to more mainstream filmmaking in Hollywood, and we learn how Steve leveraged his relationship with director Paul Schrader to break into assistant directing. Steve discusses how, as an assistant director, he keeps things moving at any cost, and he shares why he sometimes elects to designate himself as the lighting rod of blame on difficult shoots. We also discuss how Steve manages the different personalities on set, and he shares a number of episodes from his career in which he lost or narrowly avoided losing his job. Towards the end, we also learn how Steve came to finally work with director Robert Altman, one of his cinematic heroes. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 103 - IVAN SEN - DIRECTOR On this episode of the Team Deakins Podcast, we're speaking with director Ivan Sen (LIMBO, GOLDSTONE, MYSTERY ROAD). In addition to directing his films, Ivan is simultaneously responsible for the editing, cinematography, sound, and a myriad of departments typically delegated to others—his being a one man crew is a frequent point of discussion, and we learn how shooting on his own (or with relatively few collaborators) allows him to capture the emotional moments elusive to the circus of larger productions. We learn how Ivan's childhood moving around inland Australia informs the subjects of his films, and we discuss the power of place and its place in Ivan's story development process. During our discussion of his latest film, LIMBO, Ivan reflects on the increasing sense of formalism in his work and why he feels more excited for and more sensitive to the filmmaking process now than when he was just starting out. Towards the end, Ivan also shares his thoughts on the state of the Australian film industry and on being aware of the market realities of filmmaking and film exhibition when developing a project. We deeply admire Ivan's films, and we were thrilled to be able to speak with him about them. - Recommended Viewing: LIMBO - This episode is sponsored by Aputure

SEASON 2 - EPISODE 102 - LUKASZ ZAL - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, we're speaking with cinematographer Lukasz Zal (THE ZONE OF INTEREST, COLD WAR, IDA). Born and raised in Poland, Lukasz yearned to express himself creatively in his youth, but it wasn't until he filmed a communion that he found his creativity was best practiced through cinematography. We also learn how Lukasz took over the role of cinematographer on IDA and how he and director (and fellow Pole) Pawel Pawlikowski worked together. He later reveals the humorous reason the camera finally moves at the end of the film, and we discuss how shooting the film in colour and then converting the footage into black and white affected the final images. Later, Lukasz shares his experiences working on DOVLATOV in St. Petersburg, and we take a moment to appreciate the rich cinematic and artistic traditions of the Russian people. Towards the end, we also discuss the practical challenges of shooting THE ZONE OF INTEREST and how director Jonathan Glazer's idea of "Big Brother in Nazi Germany" informed the ultimate tone of the film. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 101 - WILLIE BURTON - PRODUCTION SOUND MIXER On this episode of the Team Deakins Podcast, production sound mixer Willie Burton (OPPENHEIMER, LOVE & BASKETBALL, THE SHAWSHANK REDEMPTION) joins us to talk about his career and the world of audio. We learn how Willie's love for all things audio began as a teenager in Tuscaloosa, Alabama and drove him to hitching a ride with a visiting minister out to California to pursue a higher education and deepen his knowledge in the field. After a string of odd-jobs and an engineering career in the sonar division of the Long Beach Naval Shipyard, Willie weathered years of rejection before gaining admittance into the sound union, becoming the first African-American in the local's history, and finally began his long career in film and television. Throughout the episode, Willie remembers those who helped him advance in his career; among them fellow trailblazer Sidney Poitier, who gave Willie his first break sound mixing a feature on the Poitier-directed LET'S DO IT AGAIN. Willie later shares how he likes to prepare for a film, and we discuss some of the challenges Willie faced recording sound on OPPENHEIMER and TENET. Towards the end of our conversation, we ask Willie if he's ready to hang it up, and we also learn about Willie's involvement in a new educational program in Kansas City exposing young men and women to the world of filmmaking. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 100 - Colour - with Donald Mowat & Greig Fraser In this special entry of the Team Deakins Podcast, we're celebrating the 100th episode of our second season by sharing our conversation about colour in film with former guests (and good friends) cinematographer Greig Fraser and makeup artist Donald Mowat. Greig discusses his endless search for the right lighting and camera combination to achieve a complexity and depth in skin tones he sees in 1970s-era American cinema, and we reminisce about the consistency in results born from the compatibility between tungsten lights and film stock designed for tungsten lighting. Donald also recalls the "Magenta Scare" when the red-adjacent colour became a point of fixation for filmmakers, and we consider the value of relying on the experts with whom we work. Throughout our winding discussion, some of the topics we cover include: actors' skin tones changing under stress, the evolving politics of the makeup department, the diverse (and distressing) settings and screens in which dailies are viewed, the trouble with painting a set grey, the varying qualities of LED lights, the varying qualities of coloured gels, how Greig tests for skin tones, how Donald sneaks reference photos for his department, and watching really bad films while on a shoot. Also included: Technicolor-era trivia from Roger. A huge thank you to everyone still listening to the podcast! - This episode is sponsored by Aputure

SEASON 2 - EPISODE 99 - ALFONSO CUARÓN - WRITER / DIRECTOR Writer and director Alfonso Cuarón (ROMA, CHILDREN OF MEN, Y TU MAMÁ TAMBIÉN) joins us on this episode of the Team Deakins Podcast to talk about his career and about filmmaking. Growing up in Mexico, Alfonso sought solace in the cinema, and he crewed and assisted on documentaries around the country throughout his youth, setting the foundation for his visual sensibilities by studying the photography of Ansel Adams and observing a DP manipulate natural light to shoot vegetables. After directing his first feature, Alfonso was brought to Hollywood by director Sydney Pollack to work on an episode of the anthology series FALLEN ANGELS, and Alfonso recalls for us his encouraging conversation with actor Alan Rickman that helped him overcome the petrifying pressure of shooting within the Hollywood machine. Alfonso later shares how director Guillermo del Toro convinced him to helm the third HARRY POTTER film, and he reveals which elements of the franchise he pushed to evolve and change. Alfonso also reflects on his relationship with visual effects, and we discuss why prep and bringing one's collaborators into one's process brings out the best in any film. Towards the end, Alfonso reflects on his experiences working on his upcoming limited series and shares his fear that television, not cinema, is the one conquering the other; however, despite this fear, we discuss the past, present, and potential future of filmmaking through an optimistic lens. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 98 - ETHAN HAWKE - ACTOR / DIRECTOR On this episode of the Team Deakins Podcast, we're joined by actor and director Ethan Hawke (WILDCAT, BLAZE, BOYHOOD). James once worked with Ethan on WHITE FANG in Alaska, but before that, Ethan started acting in his youth in the theatre before landing his life-changing role on DEAD POETS SOCIETY. Throughout our discussion, Ethan reflects on his evolving relationship to film, art, and acting and shares a number of his thoughts on the nature of filmmaking. Ethan shares how he adjusts to the working style of different directors and what he's applied to his own discipline of acting after directing a number of projects. We later discuss rehearsals, learning how director Sidney Lumet once adjusted a scene with Ethan because of having run through the scene with him, and Ethan shares why would never ask a director to change their preferred way of working. We also learn how Ethan developed and directed BLAZE and what the guiding principles were behind the direction of WILDCAT. An engaging conversation with a truly talented artist! - This episode is sponsored by Aputure

SEASON 2 - EPISODE 97 - MARK JOHNSON - PRODUCER Producer Mark Johnson (THE HOLDOVERS, BETTER CALL SAUL, GALAXY QUEST) joins us on this episode of the Team Deakins Podcast. After growing up in Spain and a brief stint as an extra on DOCTOR ZHIVAGO, Mark worked in commercials in New York City before finding his way into the Directors Guild of America's Assistant Directing training program. Mark later survived William Friedkin's globe-trotting production of SORCERER, emerging from the dirt and mud having risen to the position of 2nd AD, and eventually broke into producing with director Barry Levinson's DINER. During our discussion, we learn how Mark finds projects to produce and what he looks for in projects brought to him. Mark also reflects on the varying styles of directors and how he personally defines the responsibilities of a producer. We also learn how Mark shepherded GALAXY QUEST (a favourite of ours) into existence, and he shares a number of insights into the journey of its development, production, and release. We later learn how Mark first met writer Vince Gilligan and of their long-term professional relationship that led Mark to producing BREAKING BAD and BETTER CALL SAUL, and he reflects on the differences between working in television versus film. Mark is responsible for introducing us to director Denis Villeneuve before we worked together on PRISONERS, and it was a pleasure to be able to catch up with him in this episode. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 96 - GEORGE COTTLE - STUNT COORDINATOR / 2ND UNIT DIRECTOR Stunt coordinator and 2nd unit director George Cottle (BARBIE, OPPENHEIMER, TENET) joins us on this episode of the Team Deakins Podcast. At 16, George spent a summer assisting stunt coordinator Greg Powell at Pinewood Studios, and his life has been dedicated to stunts ever since. George shares how he met the requirements for the British Stunt Register (while explaining what the organization actually does) and how the structure of the stunt department encourages the gradual but meaningful development of skills in its members. We also question George about his recent expansion into 2nd unit directing and learn how he coordinated the car chase in BARBIE using his daughter's walkie-talkies. We later learn how new technologies and advances in visual effects have assisted the stunt department in safely executing elaborate stunts, and George reflects on the department's modern pivot away from its historically machismo culture. George also reveals how he determines whether an actor can (or should) participate in a stunt, and we learn how he builds out his team when hired for a job. We also get George to reflect on the unique challenges of designing stunts for TENET amidst its many locales and its time-defying script. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 95 - RICK CARTER - PRODUCTION DESIGNER Production designer Rick Carter (THE FABELMANS, AVATAR, MUNICH) joins us on this episode of the Team Deakins Podcast. Despite growing up around Hollywood, Rick was a rebel, and it wasn't until after dropping out of college and traveling the world as a hippy that Rick finally found his way into filmmaking. Rick shares why he fell into the art department and, throughout the episode, reflects on how he conceptualizes spaces with his fellow filmmakers before bringing them into our reality. Rick also reflects on the podcast itself—it being an archive of filmmakers of a certain epoch of filmmaking—and eagerly adds his own voice to its chorus. We also focus on Rick's experiences working on director Steven Spielberg's MUNICH and on the decision-making that went into finding the location for the staircase scene set in Athens. - Recommended Viewing: MUNICH - This episode is sponsored by Aputure

SEASON 2 - EPISODE 94 - BILL BENNETT - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, cinematographer Bill Bennett speaks with us about the world of commercial filmmaking. Born into a family of engineers, Bill came to love art through his mother's own development as an artist, and he quickly changed majors in college to pursue his passion. Finding his way to LA, Bill built sets for commercials for years until breaking his way into camera operating and eventually cinematography in the field. Bill reveals how commercial filmmakers transitioned from film to digital formats and of his involvement in the development of the Arriflex 435 camera, a major breakthrough at the time. Bill later reflects on the impact of the Arri Alexa camera on the design of digital cameras at large and on the moment a digital camera demonstrated its value as a viable replacement for film cameras to him on a car commercial shoot. Bill also shares plenty of advice for young filmmakers looking to enter the world of commercial production and what his own views are on what makes someone stand out from the crowd. Towards the end, we discuss how commercial filmmaking is changing with new technologies like artificial intelligence and volume lighting systems. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 93 - DANIEL KALUUYA - ACTOR On this episode of the Team Deakins Podcast, we're speaking with actor Daniel Kaluuya (JUDAS AND THE BLACK MESSIAH, GET OUT, SICARIO). A former class clown from Camden Town, Daniel describes his early initiation into the London youth theatre and arts scene up until being scouted to write and act on the popular British show SKINS. We had the pleasure of working with him on SICARIO, and he reveals how much the production changed his perception of acting and empowered him to try "doing nothing" in a scene. We learn about the discipline he applies during prep to inhabit his characters, and we discuss the particular challenges and responsibilities of playing Fred Hampton in JUDAS AND THE BLACK MESSIAH. Later, Daniel discusses his preparation for GET OUT and reflects on his experience being the face of a film that blew up far beyond his initial expectations. Daniel also reveals what he learned about himself following a year-and-a-half-long sabbatical from acting after shooting SICARIO. Throughout the episode, Daniel shares his love for working with directors who have something to say and know what they need to shoot to say it. - Recommended Viewing: GET OUT, SICARIO - This episode is sponsored by Aputure

SEASON 2 - EPISODE 92 - DON BURGESS - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, we speak with cinematographer Don Burgess (AQUAMAN, CONTACT, FORREST GUMP). Always the outdoorsman, Don spent much of his youth and young adulthood filming sports movies and learning the ropes while hanging off them on the side of a mountain. We learn how he fell in with director Robert Zemeckis in a pivotal meeting to shoot FORREST GUMP and how they typically prepare and work together through production. We also discuss Don's night work on CAST AWAY and the difficulties of working on a tropical island. We reflect on deriving strength from longtime crew members, and Don reveals how, after the introduction of film incentives, he's since developed local crews around the world. Later, Don gives us a recent example of when he was able to remotely DP a shot across the Pacific Ocean with his trusted New Zealand crew. Among his many illustrious credits, Don can also boast of surviving the 2nd unit on the arduous production of director William Friedkin's SORCERER. - This episode is sponsored by Godox

SEASON 2 - EPISODE 91 - LIZA BAMBENEK - 1ST AC 1st assistant cameraperson Liza Bambenek (THE CURSE, THE BALLAD OF BUSTER SCRUGGS, SICARIO) joins us on this episode of the Team Deakins Podcast. We get a full breakdown of the camera department in this episode, and we discuss the duties and responsibilities of the different positions with Liza. We had the pleasure of working with her on SICARIO and NO COUNTRY FOR OLD MEN, and we can attest to her expertise. From small town Minnesota down a winding path to Santa Fe, Liza reflects on her life and career throughout the episode, and we consider the qualities we find most helpful in a member of the team and the characteristics commonly found in the world of filmmaking that inspire us to keep creating. We also discuss the importance of mentorship and the strength and responsibility of admitting that you don't know something to your teammates. Liza later reflects on the evolution of female representation in the camera department and in crews overall, and she shares how the Santa Fe film market has matured since its implementation of film incentives. - This episode is sponsored by Godox

SEASON 2 - EPISODE 90 - DENNIS MUREN - VFX SUPERVISOR Visual effects supervisor Dennis Muren (JURASSIC PARK, TERMINATOR 2: JUDGEMENT DAY, STAR WARS: RETURN OF THE JEDI) joins us on this episode of the Team Deakins Podcast to discuss his lifelong craft. From playing with stop motion to working on the original STAR WARS, Dennis was interested in visual effects at an early age, and throughout the episode he reflects on the evolution of the field following the advent of computer generated imagery. We learn how Dennis prioritizes emotionality when building VFX into a shot and how he consults with a director and the crew to come up with the best shots for the film. We also learn about the shift away from using models towards computer generated imagery and about the loss of certain aspects of reality that came with transition. We discuss the focusing power of deadlines, and Dennis later shares some advice for young filmmakers looking to breaking the field of VFX. Also included: how Dennis set up a prehistoric video call to coordinate the VFX of JURASSIC PARK across the globe with director Steven Spielberg in 1993. - This episode is sponsored by Godox

SEASON 2 - EPISODE 89 - ELLEN MIROJNICK - COSTUME DESIGNER Costume designer Ellen Mirojnick (OPPENHEIMER, WALL STREET, FATAL ATTRACTION) joins us on this episode of the Team Deakins Podcast. A born and bred New Yorker, Ellen jumped right into costume design on a low-budget feature in New Orleans where she quickly (and easily) took to the role as the department head. She later spent two films working and studying under famed costume designer Sandy Powell before being recruited by director Adrian Lyne to work on FATAL ATTRACTION (one of many films in which she would work with actor Michael Douglass). During our discussion of OPPENHEIMER, Ellen shares the notes she received from director Christopher Nolan that informed her approach to the design of the film's costumes and reflects on the challenge posed by needing to design costumes that could be shot in black-and-white in one setup and in colour in the next. Ellen also reflects on the challenge of designing the film's costumes to seamlessly reflect changes in time without losing the characters across numerous decades of story. Towards the end, we discuss the importance of creating costumes that are not only right for the period, but right for the actors who need to wear them. - This episode is sponsored by Godox

SEASON 2 - EPISODE 88 - JOHN KNOLL - VFX SUPERVISOR On this episode of the Team Deakins Podcast, VFX supervisor John Knoll (THE BATMAN, ROGUE ONE, PIRATES OF THE CARIBBEAN) joins us to talk about his career and his craft. Despite growing up among an academic family of engineers, scientists, and medical professionals, John fell in love with the fantastic imagery of cinema and television, and he saw miniature work as his way into filmmaking. From cold-calling Industrial Light & Magic at 15 to later working for them, John reflects on his life as one who turns hobbies into professions, and we learn how John fuses technology with art in his work. John reveals, with great clarity, how slit-scans are actually composed and shares how he used the effect to generate the illusion of the Starship Enterprise entering and exiting warp speed. We later discuss the leadership responsibilities of being a supervisor, including giving negative feedback in such a way that elevates a collaborator's work. Towards the end, we also discuss the enduring appeal of miniatures for audiences and filmmakers alike. In addition to his work in VFX, John (alongside his brother Thomas) invented Photoshop, the popular photo-editing software used around the world. - This episode is sponsored by Godox

SEASON 2 - EPISODE 87 - STEFAN DECHANT - PRODUCTION DESIGNER Production designer Stefan Dechant (REBEL MOON, THE TRAGEDY OF MACBETH, WELCOME TO MARWEN) joins us on this episode of the Team Deakins Podcast. We worked with Stefan on TRUE GRIT and JARHEAD, and it was great catching up with him. Like many other young boys of the 70s, Stefan became enchanted with STAR WARS, and (while attending school in Cincinnati, Ohio) lied his way to a gig working on JURASSIC PARK. His first love was storyboards, but he soon found his design and illustration skills best suited a career in art direction and production design. Stefan shares how his time drafting storyboards informs his approach to production design, and we also discuss the integration of emerging technologies in filmmaking today and tomorrow. We also hear about Stefan's experience working with director Joel Coen and cinematographer Bruno Delbonnel on THE TRAGEDY OF MACBETH and learn how they carved the film's expressionistic and abstract sets out of light. - Recommended Viewing: THE TRAGEDY OF MACBETH - This episode is sponsored by Godox

SEASON 2 - EPISODE 86 - DIANNA FREAS - SET DECORATOR On this episode of the Team Deakins Podcast, we're joined by set decorator Dianna Freas (FOR ALL MANKIND, LONE STAR, THUNDERHEART). Studying illustration and fine arts at Syracuse and Parsons, she later attended NYU and found her skills well suited to set design. After an early career period working as a co-production designer alongside husband and production designer Dan Bishop, Dianna transitioned to set decoration full time. Throughout the episode, Dianna defines some of the myriad of roles within the art and set decoration departments. What are lead men? How does she work with a buyer? What does the set decoration coordinator typically oversee? Who keeps the books? Who's responsible for that lamp? The demarcations are many, the responsibilities are numerous, and Dianna maps it all out for us with clarity. We later extoll the virtue of flexibility, and Dianna gives advice to anyone looking to break into the art department. - This episode is sponsored by Godox & the Dallas Film Commission

SEASON 2 - EPISODE 85 - HANS ZIMMER - COMPOSER Composer Hans Zimmer (DUNE, INTERSTELLAR, THE LION KING) joins us on this episode of the Team Deakins Podcast. Hans takes us back to his early career working the espresso machine for composer Stanley Myers and later making runs for director Bernardo Bertolucci on THE LAST EMPEROR before reflecting on his experience composing the score for the South Africa-set, anti-apartheid film A WORLD APART. We later discuss the purpose of score in a film and how Hans works to create an environment in which a director's story can unfold, as does a cinematographer. We learn what Hans is really doing when he's procrastinating, and we weigh the value of being original and being good. We also trade notes on working with director Denis Villeneuve, and Hans reveals his deeply personal connection to the score and story of THE LION KING. Towards the end, Hans opines that the Hollywood sound is really made in London, and he revels in the joy of conducting an orchestra that has played everything until he brings his original score to their stands. - This episode is sponsored by the Dallas Film Commission & Godox

SEASON 2 - EPISODE 84 - WIM WENDERS - WRITER / DIRECTOR Writer and director Wim Wenders (PERFECT DAYS; WINGS OF DESIRE; PARIS, TEXAS) joins us on this episode of the Team Deakins Podcast. Early on in the conversation, Wim recounts waiting in the toilet stalls as a student in Paris and watching over 1000 movies in a year before realizing working in film was his way forward. Wim walks us through his first three features, including a disastrous visit to the Venice Film Festival, and reveals how those experiences led to the genesis of his first road movie: ALICE IN THE CITIES. After a winding trip through the American West, Wim was wooed by colour photography and reveals how he and late, great Sam Shepard willed PARIS, TEXAS into existence. Wim later reflects on wrestling with expectations on its followup, WINGS OF DESIRE, and the welcoming invitation to study toilets in Japan that led to the wonderful PERFECT DAYS, which he likens to a documentary about a fictional character. We also learn which of Wim's many films is his favourite, and we venture a guess at the future of filmmaking and filmgoing. - This episode is sponsored by Godox & the Dallas Film Commission

SEASON 2 - EPISODE 83 - PAUL SCHNEIDER - ACTOR On this episode of the Team Deakins Podcast, we speak with actor Paul Schneider (BRIGHT STAR, THE ASSASSINATION OF JESSE JAMES, GEORGE WASHINGTON). Growing up in a small town in North Carolina, Paul shares how working in film and television never crossed his mind until a pivotal viewing of Jane Campion's THE PIANO. Attending film school following the encouragement and support of a high school teacher, Paul studied editing but found himself frequently cast in his friends' short films, culminating in a performance in GEORGE WASHINGTON, shot entirely by his film school friends. Paul later shares how, to prepare for a role in Jane Campion's BRIGHT STAR, he practiced his Scottish accent by studying a copy of TRAINSPOTTING. We later discuss the importance of a director having a clear vision for a film and loving a collaborative director who includes their crew and cast in their creative decision making process. Paul also reveals the secret character trait that informed his character in JESSE JAMES, and we discuss the emotional mathematics of the collaboration found in filmmaking that result in a film's final cut. - This episode is sponsored by the Dallas Film Commission & Godox

SEASON 2 - EPISODE 82 - GARRETT BROWN - INVENTOR OF THE STEADICAM On this special episode of the Team Deakins Podcast, we speak with the inventor of the Steadicam: Garrett Brown (YENTL, THE SHINING, BOUND FOR GLORY). He not only invented the tool but also frequently operated it, breaking the new system in on MARATHON MAN, ROCKY, and BOUND FOR GLORY in a single summer in the mid-1970s. With just a high-school level of understanding of physics, Garrett was able (after a long, isolated week in a remote hotel) to think through the fundamental design of the Steadicam which is still used today—50 years after its invention. We learn about the biomechanics of the human body that informed the design of the Steadicam and of the four key aspects of the device that isolate the camera from its operator. Garrett later recounts the day he first used the prototype on BOUND FOR GLORY (its first ever use in a feature film no less!) and how the late cinematographer Haskell Wexler fought for its inclusion. Garrett also shares how Stanley Kubrick utilized the unique properties of the Steadicam while filming THE SHINING to move the camera "like a ghost" through the empty halls of the Overlook Hotel and chase the indefatigable child actor Daniel Lloyd across miles of carpet. Few people can claim to have changed the way we make movies, and Garrett is one of them. - This episode is sponsored by the Dallas Film Commission

SEASON 2 - EPISODE 81 - RICK HEINRICHS - PRODUCTION DESIGNER Production designer Rick Heinrichs (GLASS ONION, STAR WARS: THE LAST JEDI, SLEEPY HOLLOW) joins us in conversation on this episode of the Team Deakins Podcast. From doodling on his homework to drafting the fantastical worlds of Tim Burton, we cover the breadth of Rick's career in this conversation. Rick shares with us his experience studying at CalArts and learning how to think creatively from filmmakers like Alexander McKendrick and others of his caliber. Rick later reflects on his time as a starting animator at Disney and his early work in the art department before making the full transition to working as a production designer. We reminisce about our time together working on FARGO and THE BIG LEBOWSKI, and Rick shares what it was like to initially work with the Coen brothers and bring the visions in their heads into reality. During our discussion of THE LAST JEDI, Rick shares what went into creating the relatively realistic feeling prevalent throughout the film and how everyone bought into Rian Johnson's direction for its look. We also consider the importance of tone and the paramountcy of character under which we all ultimately labour. - This episode is sponsored by the Dallas Film Commission

SEASON 2 - EPISODE 80 - JUAN JOSÉ CAMPANELLA - WRITER / DIRECTOR On this episode of the Team Deakins Podcast, writer and director Juan José Campanella (THE SECRET IN THEIR EYES, VIENTOS DE AGUA, SON OF THE BRIDE) joins us for a conversation about his career (of which we have been longtime and passionate fans). After moonlighting as a film student and watching odd-paired double bills at local theaters in Buenos Aires, Juan attended film school at NYU and eventually returned to Argentina after 10 years to continue his career. We learn how Juan and his team pulled off the stadium scene in THE SECRET IN THEIR EYES and why he conceived of the single-shot aesthetic for that particular moment in the film. Juan later shares how his longtime creative partnership with actor Ricardo Darín has developed over the years and what Juan saw in a performance of Ricardo's that made him believe he was a formidable actor. Juan also shares his approach to rehearsals and how he's helped actors justify lines that, initially, they have difficulty delivering. Towards the end, Juan reflects on the differences between television and film, the response towards a film based on its distribution strategy, and the changing tastes of audiences. - Recommended Viewing: THE SECRET IN THEIR EYES - This episode is sponsored by the Dallas Film Commission

SEASON 2 - EPISODE 79 - DAN BISHOP - PRODUCTION DESIGNER On this episode of the Team Deakins Podcast, we speak with production designer Dan Bishop (FOR ALL MANKIND, MAD MEN, PASSION FISH). From painting scenery on MY DINNER WITH ANDRE to designing the future on FOR ALL MANKIND, Dan has seen it all. We learn how he drew from history to design the world of MAD MEN, and he reveals when and how the series transitioned from film to digital. Later, Dan, after pointing out the tools of his trade were no different from Da Vinci's for most of his career, reviews the relatively recent advances in computer software and hardware that enable him and his department to quickly and digitally construct and present design ideas. We later reflect on the quest to find the elusive "perfect location" and the varying levels of location scouts' photography skills. We also discuss the alchemy that takes place when combining light, fabrics, and colours in a physical space and the benefits and drawbacks of working on set versus on location. - This episode is sponsored by the Dallas Film Commission

SEASON 2 - EPISODE 78 - PABLO HELMAN - VFX SUPERVISOR Visual effects supervisor Pablo Helman (KILLERS OF THE FLOWER MOON, THE IRISHMAN, JARHEAD) joins us on this episode of the Team Deakins Podcast. Born in Argentina, Pablo spent his youth playing music professionally and touring South America with his band before graduating from UCLA and working for several effects houses before ultimately ending up at Industrial Light & Magic where, for the past 27 years, Pablo has hung his hat. Throughout the episode, Pablo shares how he approaches implementing VFX into a film and how he works with directors and the various heads of departments during production to ensure the effects serve the story being told. Pablo also reveals how the de-aging technology used in THE IRISHMAN was developed, how it actually works, and why its development was led with the intent to preserve an actor's performance. Later, Pablo shares several stories from working on KILLERS OF THE FLOWER MOON, from scanning and reproducing a miniature oil derrick to wrangling digital cows. Towards the end, we consider how VFX is just another tool to use to create the reality of a film and discuss why you ultimately can't escape from what you shoot. - This episode is sponsored by the Dallas Film Commission & Aputure

SEASON 2 - EPISODE 77 - PENNY ROSE - COSTUME DESIGNER Costume designer Penny Rose (PIRATES OF THE CARIBBEAN, MISSION: IMPOSSIBLE, THE COMMITMENTS) joins us on this episode of the Team Deakins Podcast. Despite dressing actors at a local theatre (as a teenager) and later working alongside fashion designer Elio Fiorucci (as an interpreter), costume design didn't occur to Penny as a career path until she found herself in the position (as the last-minute backup) on a commercial for director Adrian Lyne. Penny spent the next decade working with and learning from the preeminent English commercial directors of the time, following them into features and further developing her abilities as a costume designer. Penny later breaks down the costume department for us, and we discuss what qualities she looks for in her team members. We also learn how she builds out the look of a character with the director and the actor and of the diplomacy she exercises between the two when a disagreement arises. Towards the end, we reflect on the demands and pleasures of the vagabond lifestyle of a filmmaker. - This episode is sponsored by Aputure & the Dallas Film Commission

SEASON 2 - EPISODE 76 - DEB AQUILA - CASTING DIRECTOR Casting director Deb Aquila (CODA, LA LA LAND, SHAWSHANK REDEMPTION) joins us on this episode of the Team Deakins Podcast. Born and raised in Brooklyn, Deb grew up in an arts-loving family, whose encouragement to enter the field led her to attend NYU and study under Stella Adler. Pivoting into casting, Deb found herself working on the hit series MIAMI VICE for two seasons before growing into a veteran independent casting director. Deb breaks down what really goes on in the audition room and how she works with actors to bring out their best performances as she hunts for the right choice for a part. We learn how she works with directors after being brought on to a project, and she shares how a character can evolve over the course of the audition process. Deb later shares what her responsibilities are as a studio executive at Paramount and how she balances those with her responsibilities as a casting director. Towards the end, we discuss "casting" personalities, when hiring both the cast and crew, and the value of creating a safe space for actors to give their best performances during the shoot. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 75 - LUC MONTPELLIER - CINEMATOGRAPHER Cinematographer Luc Montpellier (WOMEN TALKING, AWAY FROM HER, AUTUMN HEARTS) joins us on this episode of the Team Deakins Podcast. Hailing from rural Canada, Luc reflects on his childhood growing up with a deep love for film and later knuckling down to get into film school, both by building his portfolio and threatening the school with an endless stream of applications until his acceptance. We learn how the Canadian government supports its country's film industry and how that support has evolved over time, and we consider the different pathways for young filmmakers to gain experience in both Canada and the United Sates. We later mine the fine details of Luc's approach to shooting the deceptively "simple" WOMEN TALKING and how he and director Sarah Polley identified when and how to visually express the women's story and their evolving characters. And, towards the end, Luc thanks us for responding to his email years ago following a difficult professional experience. - Recommended Viewing: WOMEN TALKING - This episode is sponsored by Aputure

SEASON 2 - EPISODE 74 - LISA CHURGIN - EDITOR On this episode of the Team Deakins Podcast, we're joined by editor Lisa Churgin (PITCH PERFECT, HOUSE OF SAND AND FOG, GATTACA) to discuss her career and the craft of editing. Lisa shares with us the moment she discovered filmmaking after leaving suburban New Jersey for New York City and how she survived bouncing between employment and unemployment before landing an editing gig on THE WARRIORS and working for director Woody Allen's longtime editor Susan E. Morse. Lisa later laments the general loss of the dailies process and the opportunity for younger editors to listen to the crew talk out production problems. Later likening editing to sculpting, Lisa reflects on the role of an editor and her place in the greater filmmaking process. We worked with Lisa on HOUSE OF SAND AND FOG and DEAD MAN WALKING, and she shares how she and director Tim Robbins approached the construction of the latter. We also learn what the director-editor interview for a potential job is really about, and we bookend the episode heaping praise on dolly grips. - Recommended Viewing: HOUSE OF SAND AND FOG, DEAD MAN WALKING - This episode is sponsored by Aputure

SEASON 2 - EPISODE 73 - INBAL WEINBERG - PRODUCTION DESIGNER Production designer Inbal Weinberg (THE LOST DAUGHTER; SUSPIRIA; THREE BILLBOARDS OUTSIDE EBBING, MISSOURI) joins us on this episode of the Team Deakins Podcast. Despite her early love for European social realist films, Inbal embarked on the immigrant dream of making it in New York City and studied film at NYU before being asked by director Hal Hartley (her favourite filmmaker at the time) to design THE GIRL FROM MONDAY. Inbal reflects on working in America as a foreigner and how that perspective influences her design choices, and we discuss handling the Mediterranean personality infrequently encountered in American productions. She later speaks of the art department as the hub through which the vision of the film is communicated to other departments and the importance of maintaining open lines of communication throughout production. Inbal also shares how she and other production designers are fighting to stay involved in the evolving design process in the face of the proliferation of VFX across all departments. Topics also include: using time in prep to learn how to work with a director, the revolving door of information we accrue and abandon when transitioning between projects, and Inbal's favourite episode of the podcast. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 72 - STEVE YEDLIN - CINEMATOGRAPHER Cinematographer Steve Yedlin (GLASS ONION, STAR WARS: THE LAST JEDI, LOOPER) joins us on this episode of the Team Deakins Podcast to discuss the nuts and bolts (and truth!) of cinematography. We touch on Steve's early-career projects and on the start of his enduring creative partnership with director Rian Johnson during their time at USC. Later, we consider the benefits and shortcomings of film school and which parts of cinematography can really be taught, and we reflect on the nature of luck in one's career. Steve shares how he and Rian approached designing the look of THE LAST JEDI and LOOPER, and he shares why, during production, he avoids focusing on things that belong in the proper domain of post. Towards the end, we discuss Steve's presentation (available on his website) concerning the nature of resolution as simply a tool of measurement and not a look maker, and we consider the seemingly newfound desire to "do it the old way" and the elusive definition of the word filmic. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 71 - DAVID OYELOWO - ACTOR / DIRECTOR On this episode of the Team Deakins Podcast, we're joined by actor and director David Oyelowo (LAWMEN: BASS REEVES, THE WATER MAN, SELMA) to discuss his career and his craft. A television-addicted latchkey kid in his youth, David later spent several years with the Royal Shakespeare Company before embarking on his career on the screen with chameleonic aspirations. While discussing his performance as Seretse Khama in A UNITED KINGDOM, we consider the steep barriers to entry for a global audience to immerse themselves in the history of a period film set in a specific African country and the power of drawing an audience in to the story through the personal rather than the political. David later reflects on his journey to play Dr. King in SELMA, describing to us how the script's focus evolved as new directors took over the project, what director Ava DuVernay said to financiers to finally get the project off the ground, and how he took inspiration from actor Daniel Day-Lewis to embody the essence of Dr. King's character. We also discuss David's directorial debut, THE WATER MAN, and how he leaned on his past collaborators to prepare for the project. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 70 - ZACH BRAFF - ACTOR / WRITER / DIRECTOR Actor, writer, and director Zach Braff (A GOOD PERSON, GARDEN STATE, SCRUBS) joins us on this episode of the Team Deakins Podcast. Zach fell in love with the arts at an early age, booking one of his first on-screen roles in Woody Allen's MANHATTAN MURDER MYSTERY and later cutting his teeth in production while PA'ing on music videos in the late 90s. He shares how the stars aligned to cast his first choices in every role on GARDEN STATE and what the impetus was to write the script in the first place. We later learn how Zach storyboards his films in prep and how he's improved his ability to delegate during production by empowering his crew to solve creative problems. Zach also reflects on his experience crowdfunding WISH I WAS HERE and the challenges of servicing 50,000 backers while actually making the film. Towards the end, Zach shares some advice for young filmmakers, and we debate releasing films directly through streamers versus in theaters and the difficulties of marketing films in today's marketplace. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 69 - CORD JEFFERSON - WRITER / DIRECTOR Writer and director Cord Jefferson (AMERICAN FICTION, WATCHMEN, THE GOOD PLACE) joins us on this episode of the Team Deakins Podcast. Born and raised in Tucson, Arizona, Cord tells us why he never considered a career in the arts and how he wrote his way onto a journalism beat after college. After transitioning into writing television and surviving the Hollywood shuffle, Cord shares why he wrote AMERICAN FICTION following a huge professional failure in 2020 and how he realized the film with the help of Rian Johnson's production company T-Street in a risk-averse industry. We dive deep into Cord's process and experiences as a first-time director and learn how he prevented the tone of the film from falling into farce. Cord later shares why he prefers the collaborative nature of filmmaking over the solitude of prose writing and why AMERICAN FICTION was the first screenplay he ever wrote purely out of passion. At the end, Cord preaches patience when asked to give a younger version of himself advice, and he dispels the myths surrounding writer's block. - Recommended Viewing : AMERICAN FICTION - This episode is sponsored by Aputure

SEASON 2 - EPISODE 68 - JAMES CHINLUND - PRODUCTION DESIGNER Production designer James Chinlund (THE BATMAN, THE AVENGERS, REQUIEM FOR A DREAM) joins us on this episode of the Team Deakins Podcast. Reflecting on his childhood, James recalls to us noting the relationship between crowds of worshipers and the inner sanctum of the Cathedral of St. John in New York while squirreled up above in its attic. While discussing James' earlier work, we consider the balance a set or location needs between stripping it to its bare essence for the scene while avoiding an overly minimal design more appropriate for the theater. As avid fans of THE BATMAN, we ask James how he worked with director Matt Reeves and cinematographer Greig Fraser over three years and through a global pandemic to bring Gotham to the screen in all its gloomy glory. James also reveals how he learned to overcome his mistrust of VFX while working on THE AVENGERS, and we ponder the future of production design amidst the current and looming advances in technology. - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 67 - ED MCDONNELL - PRODUCER On this episode of the Team Deakins Podcast, producer Ed McDonnell (SICARIO, PRISONERS, INSOMNIA) joins us in a lively conversation about his craft and his career. After producing a play at age 12 in his neighbor's garage, he survived two brief stints in Washington and on Wall Street before leaving it all behind to work in Hollywood. While charting his quick rise from assistant to executive, Ed shares the most important lesson he learned after being fired for failing to read the room during a meeting over an early draft of BEVERLY HILLS COP. Ed also discusses how he takes scripts out to directors and collaborates with them to tell the best story possible, and we later consider why we always prefer projects that promise ample amounts of collaboration over other opportunities to simply act as functionaries. Towards the end, we discuss the nature of sequels and also reflect on the value of the oft repeated question: "Do you really need that shot?" - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 66 - OLIVER STAPLETON - CINEMATOGRAPHER On this episode of the Team Deakins Podcast, cinematographer Oliver Stapleton (THE CIDER HOUSE RULES, THE GRIFTERS, MY BEAUTIFUL LAUNDRETTE) joins us in conversation. In addition to his career as a cinematographer, Oliver is also the Co-Head of Cinematography at the National Film and Television School (NFTS) in the UK. Oliver credits his life in film to his mother and her steady hand as the family camera operator, and he shares how he created his submission film to gain admission into the NFTS after visiting the campus on a lark. We discuss how, as a cinematographer, one's job is to help the director execute their vision rather than impose your own on a film, and Oliver reveals how he grapples with finding the best way to introduce young directors and cinematographers to each other in film school. Oliver also regales us with the many tales and insights that have stuck with him from his long career. Towards the end, with a look to his past, Oliver remembers once animating Spiderman in his youth, and with a look to our future, he predicts the future of filmmaking and moviegoing. - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 65 - REED MORANO - DIRECTOR / CINEMATOGRAPHER On this episode of the Team Deakins Podcast, director and cinematographer Reed Morano (THE HANDMAID'S TALE, I THINK WE'RE ALONE NOW, MEADOWLAND) speaks with us in a career-spanning conversation. We learn how after being drafted into the position of family documentarian, Reed soon found herself drawn towards the world of filmmaking. Reed reflects on how she may or may not have gotten her first job as a cinematographer on Craigslist after film school and how shooting FROZEN RIVER changed her career. We discuss the types of projects Reed is approached for as a director and how the opportunity to tell a man's story from her perspective drew her to direct I THINK WE'RE ALONE NOW. Towards the end, we also discuss the noble folly of trying to save a script that just doesn't work. - This episode is sponsored by FiileX

SEASON 2 - EPISODE 64 - ELLEN LEWIS - CASTING DIRECTOR On this episode of the Team Deakins Episode, casting director Ellen Lewis (KILLERS OF THE FLOWER MOON, THE DEVIL WEARS PRADA, GOODFELLAS) joins us to talk about all things casting—of which we knew very little before speaking with her. A disciple of veteran casting director Juliet Taylor, Ellen shares with us how they were first introduced and what she learned working with her for eight years. Ellen reveals how closely casting works with talent agents to find the right actor for a role and how some casting directors even directly negotiate an actor's contract. We worked with Ellen on KUNDUN, and she recounts her global odyssey to cast the 14th Dalai Lama across four separate stages of his life. We later discuss setting actors at ease, both on set and in the audition room, and how we do what we can to lift the pressure under which actors must work. Ellen also admits to us just how far she's willing to travel to go to set. - Recommended Viewing: KUNDUN - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 63 - RIAN JOHNSON - WRITER / DIRECTOR On this episode of the Team Deakins Podcast, writer and director Rian Johnson (KNIVES OUT, STAR WARS: THE LAST JEDI, LOOPER) speaks with us about his career, and, in a pleasant change of pace, he even asks us a few questions! Rian first shares his childhood memory of attending a screenwriting seminar with his father and how that experience has since informed his craft. We later learn about the father-son story at the heart of LOOPER and reflect on the differences in crew cultures between different countries. We also reminisce over floundering in your 20's and touch on Rian's enduring creative partnerships with actor Joseph Gordon-Levitt and cinematographer Steve Yedlin. While discussing THE LAST JEDI, Rian reveals which classic opera inspired the design of the throne room and under what conditions, atypical for effects-heavy filmmaking, enabled Rian and his collaborators to build extensive and grounded sets for its many scenes. Throughout the episode, Rian reflects on his abilities as a filmmaker, and we discuss the beauty of scenes that, despite being irrelevant to the plot, are emotionally correct within a given story. - Recommended Viewing: LOOPER - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 62 - DECLAN QUINN - CINEMATOGRAPHER Cinematographer Declan Quinn (HAMILTON, LEAVING LAS VEGAS, MONSOON WEDDING) speaks with Team Deakins on this episode of the podcast. A first generation immigrant from Ireland, Declan first reflects on his youth bouncing between America and his family's home country. We then ruminate on Declan's decision to spend part of his early career in Ireland and on the function of pubs as watering holes wherein a young filmmaker could, back when Roger and Declan were starting out at least, find a community with which to celebrate and commiserate over work and life. Later, Declan shares his experiences working with directors Mike Figgis and Neil Jordan and on the myriad of other films he helped bring to life. Towards the end, Declan describes the process of Broadway captures and how he filmed HAMILTON at the height of its popularity with its original cast. - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 61 - DALLAS FILM COMMISSION On this episode of the Team Deakins Podcast, we sit down with two members from the Dallas Film Commission: Tony Armer, the commissioner, and Andrew Vela, a project specialist. We pepper Tony and Andrew with questions throughout the episode. What does a film commission office actually do? How do offices differ at the state and city levels? How do they help local filmmakers? And who's responsible for incentives? Andrew and Tony (who is also one of the founders of the Sunscreen Film Festival in St. Petersburg, Florida) also answer our many questions about festivals. Should you go to your local film festival? Is it worth submitting to the bigger ones? And which festivals should you even submit to? In between all our questioning, we also learn how Tony and Andrew came to work at the Dallas Film Commission and of the various responsibilities of their roles within it. - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 60 - DAVID LOWERY - WRITER / DIRECTOR Team Deakins speaks with writer and director David Lowery (PETER PAN & WENDY, A GHOST STORY, AIN'T THEM BODIES SAINTS) on this episode of the podcast. David credits his early childhood obsession with STAR WARS (despite having not seeing the films at the time) for his lifelong obsession with filmmaking, and he walks us through his early career working in independent film in Texas. We dive deep into the making of AIN'T THEM BODIES SAINTS and A GHOST STORY, learning how David developed the title for the former and how his collaborators pulled off the Ghost's costume by utilizing the old-fashioned illusions of cinema for the latter. We also consider the danger of being beguiled by "cool shots" and how a good title can complement the tone of its film. We also touch on David's favourite topic: film financing! - Recommended Viewing: A GHOST STORY, AIN'T THEM BODIES SAINTS - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 59 - KELLEY DIXON - EDITOR On this episode of the Team Deakins Podcast, editor Kelley Dixon (OBI-WAN KENOBI, THE GOLDFINCH, BREAKING BAD) joins us for a conversation about all things editing. Kelley starts by sharing her experience working in the MGM/UA mailroom and delivering script pages to the editorial department where she quickly found herself helping cut scenes. Kelley later describes learning the potential applications of visual effects if money is no object and how that insight expanded her way of thinking when approaching editorial problems on projects with relatively larger budgets. We discuss how editing can be used to bring the audience into the state-of-mind of a character and how Kelley works with a director to realize their vision in the edit. Throughout the episode, we debate whether or not editing is an invisible art, and we contemplate our favourite note: "Can you just make it better?" - This episode is sponsored by Fiilex

SEASON 2 - EPISODE 58 - ERNEST DICKERSON - DIRECTOR / CINEMATOGRAPHER Director and cinematographer Ernest Dickerson (BOSCH, JUICE, MALCOLM X) joins us in conversation on this episode of the Team Deakins Podcast. Having been exposed to photography as a young man by his uncle, Ernest first keyed into cinematography after watching David Lean's OLIVER TWIST and later attended graduate film school at NYU. Ernest reflects on his professional relationship with Spike Lee and reveals how Spike generously delayed pre-production on MALCOM X to allow Ernest enough time to finish post on his directorial debut, JUICE. Finding himself frequently directing his directors, Ernest also shares how he saw his transition into directing as a natural progression of his career. We later discuss the value of doing your homework when brought on to direct television and the different professional expectations that are unique to the medium. At the end, we consider how creation is a patient search and the importance, joys, and benefits of studying film history.