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“If a Director Feels the Need to Move the Camera Simply to ‘Make It Interesting,’ It’s Likely an Indicator the Scene Itself Isn’t That Interesting”: DP Erik Messerschmidt on Mindhunter, Season Two
When David Fincher transitioned from music videos to feature films in the 1990s, the descriptors “glossy,” “slick” and “stylized” were frequently affixed to his work. Those adjectives were often aimed as pejoratives, categorizing Fincher as a technical virtuoso who created shiny but hollow thrillers. Watching the second season of Netflix’s Mindhunter—executive produced and partially directed by Fincher—the evolution of the filmmaker’s aesthetic is striking. As FBI profilers Bill Tench (Holt McCallany) and Holden Ford (Jonathan Groff) interview America’s most notorious serial killers, the camera rarely moves. Instead, it unobtrusively observes. What hasn’t changed over the years is Fincher’s unwavering exactitude, […]
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Back to One, Episode 75: Kaitlyn Dever
Kaitlyn Dever’s sophisticated comedic instincts were on full display throughout her teens in the sitcom Last Man Standing. This year she took it to another level, starring with Beanie Feldstein in the hit comedy sensation Booksmart. And now we get to marvel at another side of her incredible acting talent in the powerful new Netflix limited series Unbelievable. In this episode, she talks about how she dealt with the emotional weight of the material in that series, and one compelling monologue in particular where restraint was a key ingredient. Plus she explains how being a “moldy person” helps her work, […]
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Back to One, Episode 74: Wyatt Russell
Despite growing up in a Hollywood family, Wyatt Russell didn’t seriously consider pursing acting until an injury ended his professional Hockey career. In a few years he’s managed to cultivate a subtle and distinct style in comedies (22 Jump Street), dramas (Overlord) and a unique and unclassifiable series that lies someone between (AMC’s Lodge 49). In this episode, he talks about embodying the lovable Dud in that series, embracing an enunciation lesson from Joe Wright, getting “caught watching” Michael Parks, plus much more! Back To One can be found wherever you get your podcasts, including Apple Podcasts, Google Play, and […]
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Back to One, Episode 73: Michaela Watkins
A Groundlings and Saturday Night Live alum who has evolved beyond her improvisational prowess, Michaela Watkins continues to surprise us. The Unicorn, Search Party, Transparent and Casual are some of her television highlights. And I loved her in movies like Afternoon Delight, Person to Person, and the important and inspirational Brittany Runs A Marathon. We talk about the vital role she plays in that film, and what, if anything, has changed in regards to meaty roles for woman. Plus she talks about being Jill Soloway’s muse, and the importance of embodying a whole person. Back To One can be found […]
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“We Decided Early On That There was Never Going to Be A Single Lock-off Shot”: DP Erik Wilson on The Dark Crystal: Age of Resistance
The original Dark Crystal was released on December 17th, 1982 , four days before my fifth birthday. I don’t remember exactly when my mom took me to see it. I can only tell you that when she did, the movie–and its lizard-like villains, the Skeksis—scared the crap out of me. There is a generation of kids who were similarly terrified and enthralled by the film, which was much darker than unsuspecting parents anticipated from Jim Henson, the man behind The Muppets and Sesame Street. Erik Wilson—the cinematographer of Netflix’s new 10-episode prequel The Dark Crystal: Age of Resistance—was not among […]
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“Imagine Making a Movie Without Tape”: DP Brett Jutkiewicz on Ready or Not
In Ready or Not, a bride spends her wedding night playing a deadly game of hide and seek with her new in-laws, a clan of board game magnates beholden to a curse that requires them to dispose of the newlywed before dawn. The film unfolds almost entirely at the wealthy family’s estate, an opulent expanse shot mainly at the historic Parkwood Estate near Toronto. Ready or Not’s $6 million budget and 26-day shooting schedule are modest for a wide theatrical release, but for cinematographer Brett Jutkiewicz the scale is downright gluttonous compared to past efforts like Benny and Josh Safdie’s […]
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Back to One, Episode 72: Lee Pace
Lee Pace has one of those dream acting careers where he gets to be painted blue or dons elf ears to play Ronan (Guardians of the Galaxy) or Thranduil (The Hobbit films), sparking the imagination of countless fans around the world, and then he hits the Broadway stage and knocks ‘em dead as Joe Pitt in Angels in America. I ask him if he takes stock of that aspect of his career, and we talk about a curious note Barry Sonnenfeld gave him while making Pushing Daisies that he still uses to this day. Plus why he’s not bothered by […]
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Back to One, Episode 71: Jake Lacy
I first took note of Jake Lacy’s exquisite comedic delivery in The Office and How to Be Single, and was pleased to see him shine while going deep and dark, like in this year’s Diane, and last year’s I’m Dying Up Here. He even stands out playing opposite heavyweights like Rooney Mara in Carol, and Michelle Williams in Fosse/Verdon. I gathered from past interviews that he spoke with an authenticity that was going to work very well on Back To One, but I was not prepared for the level of comfort and delicacy with which he opened up to me […]
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Back to One, Episode 70: Greg Kinnear
He started out as a TV host in the ’90s, but Greg Kinnear quickly made the transition to leading man thanks to legendary directors like Sydney Pollack and James L. Brooks investing in his acting talent. An Oscar nomination for As Good As It Gets followed, and he’s been making movies ever since, Little Miss Sunshine, Auto Focus, Little Men, to name just a few. This Summer he has three movies out — Brian Banks, The Red Sea Diving Resort (Netflix), and Phil, which he also directed. In this episode, we discuss the importance of tone, his penchant for playing […]
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Back To One Ep. 69: Ruben Santiago-Hudson
Actor/writer/director Ruben Santiago-Hudson is the kind of artist whose awe-inspiring dedication to the work can almost be overwhelming. He won a Tony Award for his performance in August Wilson’s Seven Guitars. His autobiographical play Lackawanna Blues was a sensation at the Public Theater and went on to be an award-winning HBO film. He started directing plays (particularly Wilson’s) and is now one of the most sought-after directors working in theater. His production of Jitney on Broadway won the Tony award for Best Revival of a Play. As an actor, he can currently be seen on Showtime’s Billions and recently on […]
