Robert Redford’s final day on David Lowery’s The Old Man and the Gun — perhaps his final day as an actor on any movie set — found him in Texas. Though the amiable based-in-fact caper was shot largely in Ohio on 16mm, Redford’s dapper bank robber actually did most of his pillaging in Texas and its neighboring states. Thus a few pick-ups were needed — the last of which featured Redford’s Forrest Tucker phoning a widowed rancher he’s romancing. “There was a little bit of electricity in the air for that scene,” said cinematographer Joe Anderson. “The shot worked really […]

In La La Land, cinematographer Linus Sandgren imbued the love story of two showbiz strivers with the opulent grandeur of the Golden Age Hollywood musical. First Man, which reteams Sandgren and La La Land director Damien Chazelle, presents the opposite challenge — reducing the mythic nature of mankind’s first voyage to the moon to something intimate, personal, and human. To do so, Sandgren eschewed the intricate, elegant long takes of La La Land in favor of an immersive cinéma vérité aesthetic inspired more by Pennebaker, Maysles and Wiseman than the sterile cosmic wonder of Kubrick. With First Man now out in […]

A row of symmetrically stacked airport luggage carts; the tumbling red-and-blue cylinders of a 7-Eleven Slurpee dispenser; the still life of neatly arranged condiments and coffee creamers on a diner countertop. While the romantically and professionally struggling twentysomethings that populate HBO’s Insecure make their share of pilgrimages to taco trucks, clubs, and even Coachella, it’s those tableaus of Los Angeles at its most quotidian that make the sprawling city feel as if it’s being viewed through a different lens. With the show’s third season recently wrapped up, cinematographer Ava Berkofsky spoke to Filmmaker about how she “makes L.A. feel like L.A.” […]

I read a book on architecture and design in the subtropics, once, a long time ago, that described the region as inherently cozy. Palm trees and big-leafed plants, it said, are made for hiding; enough of them, bundled together, will look like home. Tiquan, the thirteen-year-old narrator of cinematographer Shabier Kirchner’s directorial debut, Dadli, has places to hide, the way teenagers need to. “I go far in the country,” he says. “Hunt, get high — nobody troubles me.” Dadli, a brief and searing documentary portrait of Antigua, where Kirchner grew up, is as short as Tiquan is young, but it […]

Reed Morano has had quite the year. She took home an Emmy this time last year for Outstanding Directing for a Drama Series for The Handmaid’s Tale. She started working alongside Blake Lively and Paramount Pictures on The Rhythm Section and her second directorial feature, I Think We’re Alone Now, premiered at Sundance, and then in theaters this month. And then a few days after we interviewed her, it was announced that she inked an overall deal with Amazon Studios. Morano’s work, from her start as a DP to her rise as a director, maintains a visual excellency and attention […]

Early in Spike Lee’s collaboration with Chayse Irvin, the venerable director asked his cinematographer if there was anything special he needed for BlacKkKlansman. Irvin answered, “a third camera”—an extravagance on a low budget movie, but one Irvin believed would allow him “to take massive risks on every scene, whether it be a unique angle or the freedom to use a lens that was flawed.” Irvin embraced that self-imposed mandate for boldness by employing imperfect vintage lenses, “flashing” the image with a contrast-reducing filter and dusting off long-expired film stock. Never one to wilt in the face of risky choices, Lee […]

“I think women drill down and they’re not afraid of emotion,” says cinematographer Joan Churchill about females working behind the camera in film. Joined by other lauded DPs Ashley Connor (The Miseducation of Cameron Post), Agnès Godard (35 Shots of Rum) and Natasha Braier (Neon Demon) on a panel as part of the Film Society of Lincoln Center’s The Female Gaze series, the women discussed the breadth of their work. Running currently through August 9th at the Walter Reade Theater in New York City, the series shines light on incredible cinematographers throughout the decades, all of whom are women. Some […]

While shooting a commercial in Thailand cinematographer Sean Price Williams (Good Time, Golden Exits, Marjorie Prime) contracted an ear infection. He let me rattle questions into his ear canals despite it. Two months prior The Great Pretender, the second feature film he had shot with writer/director Nathan Silver (Thirst Street, Stinking Heaven, Exit Elena), premiered in the Viewpoints section of Tribeca. Following the screening, Sean revealed that the film had been shot on a DLSR camera that could fit in one hand, with plastic, sparkle filters taped over the lens, completely eschewing a matte box.   He managed to photograph Brooklyn […]

When I interviewed cinematographer Paul Cameron about his work on the Westworld pilot, he likened the show’s mechanical hosts to the workers on set. “By the end of the day, half the hosts have been shot up and need to get washed down, the lead pulled out and get re-programmed to be put back into work the next day,” said Cameron with a laugh. “It’s kind of like a film crew.” For Season Two of HBO’s sci-fi/western hybrid, cinematographer Darran Tiernan was among the crew getting the metaphoric lead pulled out every night. Tiernan lensed five of the ten episodes, […]

Since its May 5th launch, Childish Gambino’s “This Is America” video has been viewed more than 215 million times on YouTube, a testament to the power of the internet as mass medium. According to Variety, the average ticket price for the first quarter of 2018 is $9.16; using that math, a music video shot in two days with nine rolls of film has been viewed by as many people as Avengers: Infinity War. “I was a bit shocked at the scale and speed of the reaction. It was released on a Saturday evening and on Sunday morning I woke up to […]