The Indy Mogul Podcast
Summary: The Indy Mogul Podcast brings you honest, thoughtful discussions with expert filmmakers every week. Hosted by indie filmmaker and Aputure's Ted Sim
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Cinematographers will often say that the key to their success is their collaboration with production designers. After all, it's hard to make a good-looking image without good-looking set pieces of fill the frame. As filmmakers, it's can be hard to communicate the visual world of your story in terms of design. Guy Hendrix Dyas, the acclaimed production designer for Inception, Steve Jobs, and X2, breaks down the very fundamentals of production design while uncovering the journey he took to get to Hollywood.
The American Society of Cinematographers. To many, it's just a fancy title at the end of many prominent names. To some, it's a brotherhood. Richard Crudo, ASC, cinematographer of many well-known films and commercials, remembers the clubhouse fondly as he recounts his interactions with some master cinematographers of his time and how he eventually became president of the prestigious organization.
One of the first questions that you may get asked about your movie is, "What camera did you shoot on?" Is that meant to take away from your artistry and everything else that you did on a movie? To some, maybe. To others, it can be a sign of respect. Learning about the technology and applying it to storytelling is the very basis of filmmaking. With new gear having so much of an impact today on the medium, how can you tell if you're focusing on the right thing?
Sometimes, we mischaracterize horror as a genre with its entirely own set of rules to follow. The truth is, horror can come from anywhere, in any form. Michael Fimognari, the cinematographer to many successful horror films such as Doctor Sleep and Oculus, tells us that the horror in his latest project The Haunting of Hill House comes from our innate wishes and desires, and that he dives deep into the human psyche before adding the spirits and visions.
Joseph Kahn, legendary music video director for artists such as Britney Spears and Taylor Swift, has led an incredible life. From dropping out of film school to working on gangster rap videos, he scrapped together everything he could to be where he is now, and the journey has been nothing if not unforgettable. CAUTION: Wild stories ahead.
A cinematographer, like a painter or musician, is an artist, and every artist has their own personal tastes. It's easy to fall into the artistic trends of the decade, but what's more important is what the artist brings from within, according to Natasha Braier, ASC. For the acclaimed cinematographer of indie classics such as Neon Demon and Gloria Bell, it's all about being able to experiment with fantastical colors and techniques on a film to leave an imprint.
If you thought moving your entire life to Los Angeles to pursue filmmaking as a career was scary, you're absolutely right. It can be grueling to make it as a director or cinematographer on your own, which is why it's important to connect with the filmmakers around you. Jakob Owens, a director/cinematographer who founded the YouTube channel TheBuffNerds, was in this exact position too, and he tells us all about how he was able to make films and find collaborators, both successfully and unsuccessfully.
Shooting a TV show is vastly different from shooting a movie. Period. Instead of a director, you are met with the visions of show runners and producers. Instead of one cinematographer, there could be multiple working on the show at once. As the director of photography for the pilot and/or first season of a show, establishing the look is everything, but how does it happen?
The popular, Emmy-winning series Chernobyl is hailed for its commitment to realism and historical accuracy, and the cinematography makes sure to uphold such values. On this episode, Jakob Ihre, the show's DP, talks about his career leading up to the production of Chernobyl.
Everyone ha a different story. The struggles, the victories, the golden days, and the failures. Shawn talks about his path to become a creative photographer and cinematographer. This story can give inspiration & hope for others on similar roads.
Think about your favorite music videos. What do they have in common? Whether they're hip hop, electronic, or country music videos, they follow at least one of these few tenants that we talk about. Justin Jones, who has shot more than 400 music videos, knows what makes a good video and bad video, so we invite him into the studio to learn exactly what that is. On this episode, we talk about music videos, and what you should avoid when producing one.
This week, cinematographer Mihai Malaimare Jr., a renowned filmmaker for his work with Francis Ford Coppolla and Paul Thomas Anderson, sits down with us in the studio to talk about his latest project, JoJo Rabbit. We also cover his journey as a cinematographer and what it was like shooting films in Europe.
The road for filmmakers and cinematographers is a long one, full of obstacles and setbacks along the way. This was true for Todd Banhazl, a successful commercial and feature DP who has worked with artists such as Lorde and Janelle Monae. While talking about his preeminent work, he comforts us with stories about what it was like out of film school and the challenges he faced.
Not all movies are made for hundreds of thousands of dollars, and the case of The Peanut Butter Falcon, Nigel Bluck, the cinematographer, had to be aware of his limitations and utilize the classic phrase, "Less is always more" to make, what is now a new Classic American Film. A true minimalist filmmaker, Nigel talks about his upbringing and the important essentials of a working cinematographer.
Directors and actors aren't the only people needed to make a movie. You have the unsung heroes of the grip and electric department, whose job it is to set up complicated lighting schemes and heavy rigs. It's often a thankless job that requires being on set for long days without very much idle time. That's why we have Martin Torner, union grip for movies such as Iron Man 2 and Thor, to illuminate this side of the industry with on-set horror stories and what is required to get into gripping.