American Cinematographer Podcasts

Alex Vendler talks with American Cinematographer's Jim Hemphill about shooting The Woman, an independent feature which made a splash at Sundance, They discuss getting the most out of a small budget, his choice of equipment, his creative and artistic collaboration with Lucky McKee as well their volatile Sundance screening.

American Cinematographer's Jim Hemphill speaks with Mátyás Erdély, HSC about the Cannes-nominated film, Miss Bala, and his collaboration with director Gerardo Naranjo on the film's formal, restrained visual style in exploring Mexico's violent drug cartels. They delve into the choice of anamorphic lenses and the filmmakers' approach to covering the violent subject matter through a more detached perspective -- also, they cover Erdély's Hungarian roots as a cinematographer.

Oliver Stapleton, BSC speaks with American Cinematographer's Jim Hemphill about Guillermo del Toro's production of Don't Be Afraid of the Dark, directed by Troy Nixey. He reveals why he prefers to capture on film, what it is like working with first-time directors, how he collaborates with other departments to plan for visual effects as well as his artistic approach to the craft.

American Cinematographer's Iain Stasukevich goes on location to speak with Fred Murphy about lighting the television series The Good Wife, about becoming comfortable with digital capture and about what makes a good cinematographer.

Chris Menges, ASC, BSC speaks with American Cinematographer's Jim Hemphill about Stephen Daldry's Extremely Loud & Incredibly Close and how he shot the film to make it easier for first-time child actor Thomas Horn to focus on his performance, and also about his collaboration with production designer K. K. Barrett to create sets lit almost primarily by practicals and windows. Menges also discusses his experiences using the Arri's Alexa camera.

Checco Varese, ASC, AMC talks with American Cinematographer's Jim Hemphill about filming Renny Harlin's 5 Days of War in the Georgian Republic, including shooting in the remote abandoned village of Tsalka where they cooperated with the Georgian military to recreate a Russian attack using jets, tanks, helicopters, practical explosions and one thousand extras. He also discusses the choice of shooting with a very early build of the RED digital camera.

Checco Varese, ASC, AMC talks with American Cinematographer's Jim Hemphill about filming Renny Harlin's 5 Days of War in the Georgian Republic, including shooting in the remote abandoned village of Tsalka where they cooperated with the Georgian military to recreate a Russian attack using jets, tanks, helicopters, practical explosions and one thousand extras. He also discusses the choice of shooting with a very early build of the RED digital camera.

American Cinematographer's Jean Oppenheimer hosts a wide-ranging discussion with Conrad Hall, Jr. about the challenges and happy accidents of shooting OKA! in a remote pygmy village in the Central African forest. He details his approach to lighting the film, attempting to capture the natural beauty of the people and the locale with a limited equipment package, as well as working with the local Bayaka tribe as both actors and crew.

American Cinematographer's Jean Oppenheimer hosts a wide-ranging discussion with Conrad Hall, Jr. about the challenges and happy accidents of shooting OKA! in a remote pygmy village in the Central African forest. He details his approach to lighting the film, attempting to capture the natural beauty of the people and the locale with a limited equipment package, as well as working with the local Bayaka tribe as both actors and crew.

American Cinematographer's Jean Oppenheimer speaks with Amy Vincent, ASC, cinematographer of the 2011 release of Footloose, discussing how the film's dance sequences advance the story, how she collaborated with hair and makeup to create the 'look' for Julianne Hough, and about her repeated collaborations with Craig Brewer

American Cinematographer's Jean Oppenheimer speaks with Amy Vincent, ASC, cinematographer of the 2011 release of Footloose, discussing how the film's dance sequences advance the story, how she collaborated with hair and makeup to create the 'look' for Julianne Hough, and about her repeated collaborations with Craig Brewer

In part two, Michael Slovis, ASC discusses the process Breaking Bad employs to support its directors and provide a consistent feel to the series, as well as how it feels to work in this system.

In part one, Michael Slovis, ASC talks with American Cinematographer's Iain Stasukevich about how the supportive and collaborative team, from the network through to the crew, work together to capture the New Mexican landscape with a cinematic flair.

American Cinematographer's Iain Stasukevich goes on location to Berlinale 2011 and speaks to: director Wim Wenders about using 3-D on his dance documentary, Pina; director Guy Maddin and his producer Jody Shapiro about his use of found footage in Fragments; and director Przemyslaw Wojcieszek about the how he came to the more experimental, distressed and black and white, look of the film Made in Poland.

American Cinematographer's Iain Stasukevich goes on location to Berlinale 2011 and speaks to: director Wim Wenders about using 3-D on his dance documentary, Pina; director Guy Maddin and his producer Jody Shapiro about his use of found footage in Fragments; and director Przemyslaw Wojcieszek about the how he came to the more experimental, distressed and black and white, look of the film Made in Poland.