Shutter Angles

Conversations with DPs, directors and below-the-line crew by Matt Mulcahey

  • All the Magician’s Tricks: DP Brandon Trost on The Disaster Artist

    In Wes Anderson’s Rushmore, Jason Schwartzman plays a precocious prep school student whose interests include staging age-inappropriate plays like Serpico. Rushmore’s crew had its own precocious teenager in 16-year-old Brandon Trost, who worked on the film as an assistant to his dad/special effects coordinator, Ron. “I grew up on set with my dad. I’ve never had a job outside of the film industry,” said Trost, who was working on set by the age of 12. “You would think that growing up in movies would ruin the magic for you, because you know everything that goes into putting a movie together. But…  Read more

    On Dec 19, 2017
  • DP Erik Messerschmidt on Shooting Netflix’s Mindhunter with a Custom Red Xenomorph

    When mere mortals gear up for a job, they are restricted to selecting cameras currently in existence. Not David Fincher. Fincher has long hated all the gak required to make a digital cinema camera functional: a wireless transmitter to get signal to video village, the add-ons to provide wireless iris and focus control, the assistant camera’s onboard monitor hanging off the side — all the things that turn a small, lightweight camera body into a labyrinth of cables and breakout boxes. Red Digital Cinema responded by making Fincher his own set of custom Weapon Red Dragons for use on the…  Read more

    On Oct 26, 2017
  • Poisonous Seaweed, Meddling Weinsteins and the Stench of Broccoli: Johannes Roberts on 47 Meters Down

    If you happened to find yourself browsing through Walmart’s aisles in August of 2016, you may have come across a DVD titled In the Deep. Unless you particularly fancy Mandy Moore or Matthew Modine, there’s no reason you would’ve paid the movie’s shark-laden cover any particular attention – not with the glut of sharknados and sharktopuses gliding through the B-movie waters. Yet one year later that very same film – rechristened with its original title 47 Meters Down – debuted in American theaters on its way to a $40-plus million box office run. How did a movie seemingly resigned to the abyss…  Read more

    On Oct 23, 2017
    By on Oct 23, 2017Columns
  • It Comes at Night DP Drew Daniels on New Lenses, Old Dogs and Using Actors as Bounce Cards

    As the end credits rolled after my screening of Trey Edward Shults’s It Comes at Night, a perturbed woman behind me angrily groused, “This is bullshit. WHAT comes at night?” In her defense, the mesmerizing trailer for the film from A24 certainly leads you to believe something is in fact coming at night — a concrete something, not a metaphoric something. But no horrific, plague-mutated creatures ever arrive at the red door that separates the apocalyptic outside world from the isolated home of Paul (Joel Edgerton) and his family (wife Carmen Ejogo and son Kelvin Harrison Jr.). What does come…  Read more

    On Sep 29, 2017
  • DP Andrew Droz Palermo on A Ghost Story, Shooting 1.33 and That Pie Shot

    The polarity between director David Lowery’s $65 million Disney film Pete’s Dragon and the micro-budgeted A Ghost Story has been noted repeatedly in reviews and profiles. But the man behind the camera on A Ghost Story has a unique career trajectory of his own. Cinematographer Andrew Droz Palermo made his feature debut with Adam Wingard’s tone-mashing home invasion horror flick You’re Next in 2011. He followed that by co-directing a documentary (Rich Hill, an affecting character study of Missouri teens living in poverty) and a narrative feature (One and Two). Palermo is back in director of photography mode on A…  Read more

    On Aug 10, 2017
  • “Every So Often a Train Would Come Rumbling By and the Set Would Shake”: DP Doug Emmett on Shooting HBO’s Room 104

    An octogenarian couple returns to the hotel room where they spent their first night together — it’s a logline that would typically preface an elegiac rumination on love and mortality. But by the time that set-up arrives in the season finale of HBO’s new anthology series Rooms 104, it seems just as likely to give way to horror or violence…or interpretive dance. That’s the joy of the newest Duplass Brothers creation — each episode begins as a blank slate capable of unexpectedly evolving into any genre or tone. The 12-episode series — which debuted last Friday night — unfolds entirely…  Read more

    On Aug 1, 2017
  • “Was Everything in Focus?”: Wonder Woman DP Matthew Jensen on Shooting 35 and Digital and How Tequila Sunrise Inspired His Career

    I have to admit I can no longer distinguish 35mm film from high end digital cameras when I go to the movies. I can spot 16mm or anamorphic lenses, but the line between digital and 35mm celluloid has become impossibly blurred. Wonder Woman cinematographer Matthew Jensen can still spot the subtleties, but for Jensen the aesthetics of film are only one of the reasons he enjoys working in that format. “It’s very hard to tell the difference, especially when you’ve gone through a DI (digital intermediate) process and you’re projecting digitally. We have some shots that are digital in Wonder…  Read more

    On Jul 18, 2017
  • DP Henry Braham on Shooting Guardians of the Galaxy Vol. 2 with the First Weapon 8K Vista Vision Full Frame Camera

    Compared to the rest of the Marvel Cinematic Universe, with its squeaky clean Captain America and solemn United Nations accords,  the Guardians of the Galaxy — a rogues’ gallery of smugglers, thieves and assassins — are outliers. Yes, by the end of Guardians Vol. 2 the titular team are two-time galaxy savers. But for Rocket, the genetically enhanced trash panda voiced by Bradley Cooper, that just means they can jack up their rates. Guardians’ departure from the status quo of Marvel’s ever-bloating Avengers coalition – which they will no doubt eventually be subsumed by – extends to behind the camera as…  Read more

    On Jun 8, 2017
  • DP Toby Oliver on Get Out, Cheating the Sunken Place and Color Grading Trailers

    Sometimes you have to go where the market pushes you. And after nearly twenty years behind the camera, the market suddenly wants Toby Oliver to shoot horror films. The Australian cinematographer lensed three fright flicks last year alone, all for the low-budget genre juggernaut Blumhouse. He’s practically become Blumhouse’s version of Hammer’s in-house DP Jack Asher. The most recent of Oliver’s horror efforts to hit screens is Get Out, a Guess Who’s Coming to Dinner?/Stepford Wives hybrid in which black New York photographer Chris (Daniel Kaluuya) travels upstate to meet his white girlfriend’s family (Allison Williams and parents Catherine Keener and…  Read more

    On Apr 7, 2017
  • “The Bike is Going to Hit the Camera!” Chad Stahelski on John Wick: Chapter 2, Stair Falls and Other Stunts

    “How can the same shit happen to the same guy twice?” moans John McClane in Die Hard 2. It’s the question at the heart of every high concept action movie sequel. Failing to adequately answer it is how McClane’s New York everyman cop ends up in Moscow, or why half of Bryan Mills’ family gets kidnapped in the Taken series. Following up John Wick poses a similar conundrum – how do you motivate a retired hitman whose bloody swath of revenge is initiated by the death of his wife and the murder of a cuddly puppy? Do you have his…  Read more

    On Feb 10, 2017
    By on Feb 10, 2017Columns
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