Columns
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Back to One, Episode 214: Himesh Patel
Himesh Patel is nominated for an Emmy this year for his incredible performance as Jeevan in Patrick Somerville’s HBO Max mini-series Station Eleven. In this episode, he talks about how that role made him a better actor, which is saying a lot because he had already given us some phenomenal work in films like Tenet, Don’t Look Up, and his first feature film Yesterday. He talks about the attention and care given to him by the big-name directors of those films, and how that helped his work. I ask about his 10 years on the UK television institution EastEnders, and […]
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“We Did Not Have an Interior to Shoot for Eight-and-a-Half Episodes”: DP Christina Alexandra Voros on Her Emmy-Nominated 1883 Work
“The landscape is its own character,” says 1883 cinematographer Christina Alexandra Voros. It’s not an unusual declaration for an epic outdoor adventure, until Voros adds, “And that character was the biggest diva on the show.” A prequel to Paramount+’s popular Yellowstone series, 1883 subjected its crew to both a stifling Texas summer and a frigid Montana winter to trace the Dutton clan’s westward journey via wagon train. “It was punishing,” said Voros. “It was either raining, windy or just plain freezing, or it was 500 background people in downtown Ft. Worth sweltering under the August sun in wool clothing.” Braving […]
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“Over-Coverge is the Enemy of Style”: DP Jules O’Loughlin on The Old Man and Ms. Marvel
In Disney’s Ms. Marvel, a teen in an exuberantly colored Jersey City discovers super powers after slipping a magical bangle on her wrist. In FX’s The Old Man, a septuagenarian dusts off a long-dormant aptitude for violence when his former life as a CIA operative catches up with him. In the overlapping Venn diagram of these seemingly disparate shows, you’ll find cinematographer Jules O’Loughlin. The Australian DP shot two episodes of each series, which also share critical flashbacks set on different continents than their main story, as well as shoots that were greatly affected by COVID. With both shows now […]
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Back to One, Episode 213: Angourie Rice
She’s only 21, but Australian actor Angourie Rice has earned respect in Hollywood for stacking up diverse roles in The Nice Guys, The Beguiled, Jasper Jones, Mare of Easttown, not to mention a few Spider-Man movies. Now she has her first starring role in Honor Society for Paramount+. She talks about how it helped her to be able to relate so much to her character in that film, and why talking directly to the camera was oddly easy. We chat about her podcast, The Community Library, which is a celebration of literature and storytelling of all kinds. This leads to […]
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Film Writer and Curator Travis Crawford, R.I.P.
Film writer and festival curator Travis Crawford, who worked extensively with various home video labels in the restoration of classic foreign-language, independent and genre work, died this week, I was saddened to learn via social media. He was 52. Crawford, who for many years curated the Philadelphia Film Festival’s Danger after Dark series, wrote extensively for Filmmaker over the years, predominantly in the late aughts and early ’10s, when he headed up the print magazine’s “Load and Play” columns. His pieces on Brian De Palma’s Blow Out, David Lynch’s Blue Velvet, and the seven-disk Criterion box-set, American Lost and Found: […]
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When A Wide Shot is 12 Inches from the Lens: DPs Bianca Cline and Eric Adkins on Marcel the Shell with Shoes On
There’s a saying that a movie is made three times: once when it’s written, once when it’s shot and once when it’s edited. To create the new A24 release Marcel the Shell with Shoes On, that maxim had to expand to accommodate an additional creative cycle. Marcel, the story of a chatty one-inch tall seashell searching for his family, was in essence shot twice. First, cinematographer Bianca Cline captured the live-action components, leaving a Marcel-sized space in the compositions. Months later, armed with copious notes to match lighting, lensing, focus, etc., stop motion director of photography Eric Adkins brought Marcel […]
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Back to One, Episode 212: Ethan Hawke on The Last Movie Stars
Ethan Hawke returns to the podcast (first time was episode 41) to talk about The Last Movie Stars, his epic six-part documentary that chronicles Paul Newman and Joanne Woodward’s iconic careers and decades-long partnership. Years ago, a friend of the couple interviewed Paul, Joanne, and many people close to them for a potential memoir, but Newman burned the tapes. Miraculously, the transcripts survive, so Hawke called on his acting friends to bring them to life. The result is both an intimate portrait of the lives and careers of this great duo and also a constant celebration of the endeavor of […]
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Back to One, Episode 211: Jeanne Tripplehorn
Fresh out of Juilliard, Jeanne Tripplehorn’s first screen role was Basic Instinct. That started a 30+ year run of films like The Firm, Waterworld, Sliding Doors, and series such as Criminal Minds, Big Love, and her latest, The Terminal List for Amazon. In this episode, she talks about her love for extensive research, the most important tools for an actor—confidence, relaxation, and focus; how the happenings off-screen affect what’s on the screen; and why, at this point in her career, she just wants to play. Plus we get the scoop on her preternatural ability to sing classic rock songs in […]
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Super 8 Dream Sequences and Jump Scares: DP Brett Jutkiewicz on The Black Phone
It’s fitting that The Black Phone, an adaptation of Joe Hill’s short story, was shot in Wilmington, North Carolina. Forty years ago, it was the fertile imagination of Hill’s father—Stephen King—that birthed the city’s film industry. Needing a sprawling estate for an adaptation of King’s novel Firestarter, Italian producer Dino De Laurentiis settled on an antebellum plantation in Wilmington. Pleased with the experience, De Laurentiis made the coastal town his America base of operations, shooting three more King films there (Silver Bullet, Maximum Overdrive and Cat’s Eye) and constructing what is now EUE/Screen Gems Studios—the very soundstages that The Black […]
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Back to One, Episode 210: Juliette Binoche
Read just a sample of Juliette Binoche’s credits — Mauvais Sang, Three Colors: Blue, Damage, The English Patient, Chocolat, Certified Copy, Clouds of Sils Maria, Let The Sunshine In — and one thing becomes clear: few actors have been as internationally respected for such a sustained period of time. In this episode, she speaks about the importance of acting from the body and learning to use “sensation” as a starting point. She tells a story about feeling lost on the set of John Boorman’s In My Country, and what set her free should be a lesson to all directors. She […]
