Authors — Matt Mulcahey
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“A Kick is Like a Line of Dialogue”: Editor Nathan Orloff on John Wick: Chapter 4
Though it hasn’t reached the fever pitch of absurdity of The Fast and the Furious franchise just yet—a series that began as a Point Break riff but now includes nuclear submarines and Pontiac Fieros in space —the John Wick saga has certainly expanded from its humble beginnings. Produced independently and shot in New York on a budget in the mid-$20 million range, the original film found its titular assassin (played by Keanu Reeves) emerging from retirement to avenge the death of his dog. Four chapters later, Reeves is hopping between New York City, Osaka, Berlin, Paris and the Wadi Rum […]
by Matt Mulcahey on May 3, 2023 -
“Friday Morning Donald Called Me and Said, ‘We’re Shooting Film'”: DP Drew Daniels on Swarm
In the new Amazon series Swarm, a fanatical devotee of a Beyoncé-esque pop star embarks on a quest to meet the singer, with a few stops along the way to dispose of those who have disparaged her idol online. Created by Donald Glover and Janine Nabers, the show hops around between Texas, Georgia, Tennessee, Seattle and L.A., but was shot largely in Atlanta by Drew Daniels. The Red Rocket and Krisha DP spoke to Filmmaker about the influence of Michael Haneke, the beauty of imperfect camera moves and Swarm’s extremely last-minute switch to 35mm film. Filmmaker: Let’s start with some […]
by Matt Mulcahey on May 1, 2023 -
Ghostface Takes Brooklyn: DP Brett Jutkiewicz on Scream VI
In 1989, Friday the 13th transplanted its hockey-masked slasher from summer camp to concrete jungle for the franchise’s eighth installment, Jason Takes Manhattan. That titular promise was not fully delivered upon: Manhattan was mostly Vancouver and Jason spent much of the running time on a boat full of high schoolers traveling to the city. The newest Scream offers up a similar relocation as Ghostface follows the previous chapter’s survivors from Woodsboro to college. Again, a Canadian city (this time Montreal) stands in for New York. But this time, the killer actually spends the entire running time chasing his victims through […]
by Matt Mulcahey on Mar 22, 2023 -
Speaking Volumes: The Production Benefits and Challenges of Shooting on Virtual Stages
For Metropolis special effects artist Eugen Schüfftan, a model, a mirror and a sharp-edged tool were all the instruments required to create cinematic wonder in the 1920s. The mirror—placed at a 45-degree angle in front of the camera—reflected the image of a model cityscape located just out of frame. The tool then scraped away sections of the mirror’s reflective layer, leaving only glass and revealing strategically placed actors in the distance. When the mirror was filmed, the citizens of Metropolis now magically appeared to inhabit the colossal urban dystopia. A century later, virtual production is the latest evolution in cinematic […]
by Matt Mulcahey on Mar 16, 2023 -
“I Would’ve Shot the Telephone Directory of New York If Todd Had Asked Me To”: DP Florian Hoffmeister on TÁR
According to cinematographer Florian Hoffmeister, writer/director Todd Field often expressed his desired aesthetic for TÁR in a series of repeated Field-isms: Let’s just witness. Don’t gild the lily. Don’t make it look like a movie with a capital “M.” In other words, make the style invisible. However, Hoffmeister’s work was far from invisible to his peers, who bestowed an Oscar nomination upon the German DP for his work on the film. TÁR—Field’s first feature in more than 15 years—follows the downfall of a composer/conductor played by Cate Blanchett as she prepares a career-capping performance of Mahler’s Fifth Symphony with the Berlin Philharmonic. […]
by Matt Mulcahey on Mar 9, 2023 -
“… A 7mm Difference Between Lenses is Actually Quite a Huge Amount…”: DP James Friend on All Quiet on the Western Front
War is young men dying and old men talking. The former lies at the heart of Erich Maria Remarque’s 1928 novel All Quiet on the Western Front, based on the German writer’s experiences in the trenches of World War I. In Netflix’s new adaptation, the latter half of that axiom is also represented with the addition of a subplot centered on the armistice negotiations that ultimately ended fighting on the Western Front. As in Remarque’s novel, the story is principally told through the eyes of Paul Bäumer, a teenager who—propelled by patriotic fervor—enlists alongside his schoolmates only to be disillusioned […]
by Matt Mulcahey on Mar 4, 2023 -
“Anamorphic’s Biggest Fan”: DP Autumn Durald Arkapaw on Black Panther: Wakanda Forever
Upon release in 2018, the first Black Panther became the highest grossing standalone super hero movie in history, while achieving a lasting cultural relevance exceedingly rare even among the box office juggernauts of the Marvel Cinematic Universe. But with the passing of Chadwick Boseman, the actor behind the titular hero, maintaining the status quo in the sequel was an impossibility. For Black Panther: Wakanda Forever, the story’s throughline became grief and the narrative center shifted from Boseman’s T’Challa to his sister Shuri (Letitia Wright) and mother Queen Ramonda (Angela Bassett, who received an Oscar nomination for the part). That new focus […]
by Matt Mulcahey on Mar 1, 2023 -
“Which One is the Real Doll and Which One is the Actress?” DP Peter McCaffrey on 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
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
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
