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213 Results for “matt mulcahey”

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  • “Which One is the Real Doll and Which One is the Actress?” DP Peter McCaffrey on M3gan
    M3gan in M3gan

    When Peter McCaffrey left the processing lab at New Zealand’s National Film Unit in the early 1980s to become a freelance camera assistant, his bosses told him he’d be asking for his job back in two weeks. There was no such thing as a film industry in New Zealand, they warned. 35 years later, McCaffrey still hasn’t looked back. Climbing the ranks from clapper loader to focus puller to camera operator, McCaffrey has built an impressive resume of large-scale credits including The Lord of the Rings trilogy, Dawn of the Planet of the Apes and Thor: Ragnarok. Now, he has […]


    by Matt Mulcahey on Jan 26, 2023
  • “Cameras are Like Film Stocks Now”: DP Peter Deming on The Menu
    Anya Taylor-Joy and Nicholas Hoult on set of The Menu (Photo by Eric Zachanowich, courtesy of Searchlight Pictures)

    In The Menu, entitled dinner guests get more than they bargained for when they travel to a remote island to feast upon the culinary delights of a disillusioned celebrity chef (Ralph Fiennes). Despite being surrounded by exquisite works of gastronomical artistry during the shoot, cinematographer Peter Deming did not partake. “I didn’t taste any of it. I’m not a big food person,” said Deming. “I’ve actually talked to a number of people who said the first thing they did after seeing the movie was go have a cheeseburger.” While Deming may not have an appetite for ornate cuisine, the cinematographer certainly knows […]


    by Matt Mulcahey on Jan 6, 2023
  • The Real and the Poetic: DP Darius Khondji on Bardo
    Inside of a house filled with sand, the front door is wide open, revealing the shadow of a man standing far off in the background.

    Alejandro G. Iñárritu has labeled Bardo, False Chronicle of a Handful of Truths the most difficult film of his career—a bold categorization, considering the intricate single-take illusion of Birdman and the famously frigid filming conditions of The Revenant, both of which earned Iñárritu Oscars as Best Director. But for Bardo cinematographer Darius Khondji, the lure of the project wasn’t the technical challenges, though they were plentiful (including shooting in Mexico City at the height of COVID with long takes, deep focus photography and surrealistic imagery), but the emotional pull of the material. “Almost every single scene in Bardo was a […]


    by Matt Mulcahey on Dec 15, 2022
  • Within the Silences: The Sound Team Behind TÁR
    A blond woman conducts a string orchestra, wearing a black long-sleeve button up and slacks. She poses dramatically with her arm bent at the elbow and her fist pumped toward the air.

    TÁR opens with its namesake, played by Cate Blanchett, being interviewed in front of a packed audience at The New Yorker Festival. The chat serves multiple functions. It delivers the character’s backstory as an EGOT-winning classical composer and conductor, establishes the film’s immersive, observational style and lets the viewer experience sound the way that Lydia Tár experiences it. During the interview, the festival’s audience is only heard as a communal mass. It laughs together. It applauds together. There is no ambient chatter, no whispered asides, no rustling clothes or shuffling feet. It’s only when the interviewer asks about the influence […]


    by Matt Mulcahey on Dec 15, 2022
  • “Every Change I Make is Then Turned into a Budget and an Invoice”: Editor Mike Sale on Black Adam
    Dwayne Johnson on the set of Black Adam (photo by Frank Masi)

    Your first feature film credit is a memorable experience for anyone who grew up loving movies, but for editor Mike Sale, ACE, that inaugural gig was particularly indelible. Sale made his cinematic debut on the infamous trading card-to-movie adaptation of The Garbage Pail Kids. “It was like a film school—the Garbage Pail Kids film school,” laughed Sale. “It was a fascinating learning experience and I had a lot to learn back then. Just seeing that kind of movie come together was incredible for a young person who had never made a movie before.” Sale graduated from Garbage Pail Kids film […]


    by Matt Mulcahey on Nov 23, 2022
  • Biscuits, Blackwings and Busby Berkeley: Cinematographer Matthew Libatique on Don’t Worry Darling
    Florence Pugh in Don't Worry Darling

    When choosing a project, cinematographer Matthew Libatique says, “My first priority is that whatever I’m doing next is different than what I did last.” That guiding principle is how one bounces from Requiem for a Dream to Josie and the Pussycats, Noah to Straight Outta Compton. The two-time Oscar nominee’s quest for variety found him wrapping the Netflix musical The Prom, the Stepford Wives-esque thriller Don’t Worry Darling and the Darren Aronofsky-directed drama The Whale in the span of a calendar year. In Darling, Florence Pugh and Harry Styles star as a young couple that relocates to an almost too […]


    by Matt Mulcahey on Nov 18, 2022
  • “Either It Blows Up or It Doesn’t”: DP Eliot Rockett on Pearl
    Mia Goth in Pearl

    Despite their dissimilar filmographies, I have great affection for both the arthouse friendly A24 and the drive-in exploitation of American International Pictures. That’s why I’m such a sucker for the story behind the making of A24’s Pearl, which follows AIP’s old philosophy that if you’re going to go to the trouble of hauling a cast and crew out to a remote location, you might as well make two pictures while you’re there. Pearl began life in a New Zealand hotel room in October of 2020. While in a government-mandated two-week quarantine ahead of making the 1970s-set horror film X, writer/director […]


    by Matt Mulcahey on Nov 11, 2022
  • All Along the Parking Lot Watchtower: DP Alex Disenhof on The Rings of Power
    DP Alex Disenhof (with viewfinder) and director Charlotte Brändström on the set of The Rings of Power

    Conventional wisdom says not to start with anything particularly difficult on the first few set ups of a new project. Start simple and let the crew acclimate to each other as they begin the process of finding the rhythm that will carry them through the long days and nights ahead. However, schedules don’t always allow you to ease into things. Sometimes, as cinematographer Alex Disenhof discovered on Amazon Studios’s The Rings of Power, you spend day one on a 14,000-foot mountaintop accessible only by helicopter. “Our first two days of shooting were on Mount Kidd, which is on [New Zealand’s] […]


    by Matt Mulcahey on Nov 4, 2022
  • “We Used Almost Every Lens Set They Had in Their Inventory”: Cinematographer James Kniest on The Midnight Club
    The cast of The Midnight Club

    If you’ve begun watching The Midnight Club on Netflix, you may have noticed the tag “Part of the Flanaverse” affixed to the new series. Though the individual entries in said universe aren’t particularly interconnected, the sheer breadth of writer/director Mike Flanagan’s output for the streamer certainly justifies the “Flanaverse” moniker. The Midnight Club marks Flanagan’s fourth Netflix series, in addition to the four Flanagan-directed movies currently residing on the platform. Based on the young adult novel by Christopher Pike, Flanagan’s newest show follows a group of terminally ill teens at a remote cliffside hospice facility who meet in secret each […]


    by Matt Mulcahey on Oct 26, 2022
  • Building LUTs From 35mm Tests: DP Jasper Wolf on Bodies Bodies Bodies
    Bodies Bodies Bodies

    In A24’s Bodies Bodies Bodies, a clique of privileged twentysomethings retreats to an upstate New York manor to ride out a hurricane in style. They’re soon being bumped off one by one in a Gen Z variation of Agatha Christie. It’s basically 10 Little Influencers, a slasher-esque satire shot with glow stick-fueled style by Dutch cinematographer Jasper Wolf. With the movie now out on physical media and VOD, Wolf spoke to Filmmaker about using film tests to create digital LUTs, stressing out the prop master with an array of actor-wielded flashlights and using characters’ emotions rather than practical sources to […]


    by Matt Mulcahey on Oct 20, 2022
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Videos

  • Aaju Peter covers her eyes and shows off her Indigenous hand tattoos in the documentary Twice Colonized. "A Collaboration of Kindred Expression": Editor Mark Bukdahl on Twice Colonized Video
  • Aaju Peter covers her eyes and shows off her Indigenous hand tattoos in the documentary Twice Colonized. "Many Moments Are Raw and Shot on Intuition": DP Iris Ng on Twice Colonized Video
  • Aaju Peter covers her eyes and shows off her Indigenous hand tattoos in the documentary Twice Colonized. "We Opened up the Film Again and Re-imagined the Entire Scene" | Lin Alluna, Twice Colonized Video

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