American Cinematographer Podcasts

Michael Seresin, BSC, connects with AC via Skype to revisit his work on Alan Parker’s Angel Heart, a dark, atmospheric thriller that has gained iconic status in cinematography circles since its theatrical release in 1987. Sharing several anecdotes about the shoot, Seresin reveals how an early wardrobe test for lead actor Mickey Rourke became one of the film’s signature images, how he captured one of Robert De Niro’s most memorable scenes, and how he approached the infamous, blood-drenched sex scene that leads to the story’s denouement.

Michael Seresin, BSC, connects with AC via Skype to revisit his work on Alan Parker’s Angel Heart, a dark, atmospheric thriller that has gained iconic status in cinematography circles since its theatrical release in 1987. Sharing several anecdotes about the shoot, Seresin reveals how an early wardrobe test for lead actor Mickey Rourke became one of the film’s signature images, how he captured one of Robert De Niro’s most memorable scenes, and how he approached the infamous, blood-drenched sex scene that leads to the story’s denouement.

Cinematographer Ron Garcia, ASC, recalls shooting the Twin Peaks pilot for director David Lynch. He discusses why he was an unlikely choice for the project, how he coaxed the desired warm tones out of his Fuji negative, and the importance of working with a great gaffer.

Cinematographer Goert Giltay, NSC, and director Jos Stelling join American Cinematographer’s Iain Stasukevich on a Skype call from the Netherlands to discuss their approach to the drama The Girl and Death. The longtime collaborators cover the choice of shooting digitally with an Arri Alexa, how they achieved the expressionistic visuals, and the flexible lighting approach that was necessitated by the actors’ availability.

Cinematographer Trent Opaloch talks with American Cinematographer's Iain Stasukevich about his work on 'Captain America: The Winter Soldier,' describing in detail the nuts and bolts of lighting, managing and scheduling this mammoth production, as well as how his work on 'District 9' and 'Elysium' influenced this film.

Cinematographer Trent Opaloch talks with American Cinematographer's Iain Stasukevich about his work on 'Captain America: The Winter Soldier,' describing in detail the nuts and bolts of lighting, managing and scheduling this mammoth production, as well as how his work on 'District 9' and 'Elysium' influenced this film.

American Cinematographer's Iain Stasukevich talks with cinematographer Jost Vacano, ASC about his work on the 1987 film, Robocop directed by Paul Verhoeven. They breakdown his visual approach to the film, his careful use of the subjective camera, the withholding of a full shot of Robocop until late in the film and his use of fluorescent lighting, as well as his custom-built handheld camera rig.

American Cinematographer's Iain Stasukevich talks with cinematographer Philippe Le Sourd, AFC about filming Kar Wai Wong's martial arts extravaganza—about the man who trained Bruce Lee—The Grandmaster. They discuss how the project morphed over its 3 years of production in China, as well as his creative collaboration with the director—as well as being one of the last movies shot on Fujifilm.

American Cinematographer's Jim Hemphill speaks with John Schwartzman, ASC about his work on Saving Mr. Banks, exploring how they shot this modestly budgeted movie on film, using no digital mattes or effects even though the film is set in the 60s. Also, collaborating with director John Lee Hancock on this intimate character and story-driven piece.

American Cinematographer's Jim Hemphill speaks with John Schwartzman, ASC about his work on Saving Mr. Banks, exploring how they shot this modestly budgeted movie on film, using no digital mattes or effects even though the film is set in the 60s. Also, collaborating with director John Lee Hancock on this intimate character and story-driven piece.

American Cinematographer's Iain Stasukevich talks with cinematographer Elliot Davis about his work on Keanu Reeves' Man of Tai Chi. They discuss shooting in China, details about shooting a commercial martial arts film and Davis' views on film vs. digital

American Cinematographer's Jim Hemphill talks with Nebraska cinematographer Phedon Papamichael, ASC about working with Alexander Payne, the benefits of shooting B&W in a digital age—including their choice of camera and the options they had in post—as well as shooting a road movie in real locations and using many local actors.

American Cinematographer's Jim Hemphill speaks with Riddick cinematographer David Eggby, ACS about returning to the Pitch Black franchise and collaborating with director David Twohy to create a side-lit, contrasty, gritty world while still on a tight budget. He describes how he made this work on a 44-day shoot when many would choose to just top-light the set for quick and easy setups.

American Cinematographer's Jim Hemphill talks with The Conjuring cinematographer John R. Leonetti, ASC about creating an ultra-realistic feeling by shooting the set as is it were a location — they did not pull walls and used practical lighting as much as possible. He also discusses how their frequent use of a wide angle lens enhanced the audience's feeling of tension and unease, as well as his decision to artificially create the 16mm style footage from the high res digital capture in post.

American Cinematographer's Iain Stasukevich speaks with Game of Thrones cinematographer Robert McLachlan. This episode acts as a commentary track for Episode 9 of Season 3, which includes the infamous Red Wedding scene. They discuss specifics about this episode as well as how he works in concert with the six other cinematographers working on season three of this massive, international production.