The Cinematography Podcast

The Fire Inside is the true story of Claressa "T-Rex" Shields, a boxer from Flint, Michigan and her trainer, Jason Crutchfield. She became the first American woman to win Olympic gold in boxing. The Fire Inside is the feature directorial debut for Rachel Morrison, the first woman cinematographer nominated for an Academy Award. Cinematographer Rina Yang, BSC enjoyed the ability to speak with director Rachel Morrison in a shorthand way about shooting the film. “It did help that I've known Rachel for a while, just being female DPs in this boys' game,” she says. “It was nice to be able to skip the tech chat and get to the point, because we had a really insane schedule.” The film's production had faced numerous challenges, having to shut down during COVID in 2020 which halted filming for two years. Once The Fire Inside was greenlit again, they faced an accelerated production schedule in Toronto. Rina prepped by watching a documentary about Claressa Shields called T-Rex and watched all her fights in the 2012 Olympics as references. She and Rachel meticulously shotlisted every scene and entered it into a detailed spreadsheet so that they knew what they needed each day. The Fire Inside focuses on capturing the intensity of Shields' journey, both inside and outside the ring. “Rachel and I talked about how we wanted to shoot the boxing,” Rina explains, “but we decided that ultimately, we just wanted to feel the fight from Claressa's point of view rather than doing cool boxing shots.” This approach led to a raw and intimate portrayal of the sport, emphasizing the emotional and physical toll on Shields. Actor Ryan Destiny underwent rigorous training to perform all the boxing scenes herself, and Rina often opted for handheld cameras to capture the raw energy of the story. Rina and Rachel both operated a few of the boxing scenes. Rina didn't hesitate to tell Rachel how her camerawork was looking. “I was really honest. She would ask if she did a good job. I'd say that was good, or suggest a move that's less active and a little bit more quiet with the camera.” Rina's path to becoming a cinematographer was not a direct one. After moving to London from Japan at 21 with limited English, she decided to pursue film school. While working on a film set, Rina was inspired by Sara Deane, a female cinematographer, and realized that cinematography was her true calling. She subsequently honed her skills through a series of short films, music videos, and commercials. You can see The Fire Inside currently in theaters and streaming on VOD January 28. Find Rina Yang: Instagram @the_rinayang Hear our previous interview with Rachel Morrison about her work as a cinematographer on Mudbound: https://www.camnoir.com/ep19-2/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Venus Optics/Laowa: https://www.venuslens.net/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Nosferatu is a gothic tale of obsession, about a young woman, Ellen, who faces a terrifying supernatural entity after her husband travels to Transylvania to conduct business with the enigmatic Count Orlok. As Orlok arrives in her town, he brings a plague of death and terror, forcing Ellen to confront the monstrous vampire and the darkness within herself. Cinematographer Jarin Blaschke wanted to create a visually distinct and unsettling experience for Nosferatu, drawing inspiration from F.W. Murnau's 1922 classic, while developing his own unique look. Both he and director Robert Eggers chose a more romantic approach to the film, with a palette of blue and black. Shooting on film with candlelight and moonlight added to the haunting atmosphere. Jarin tested several lenses and the film scanning process to get the grain and color just right. He wanted Nosferatu to feel very composed and controlled. “If it feels claustrophobic, we lean into that,” he says. “How you pan, when you pan, what's the feeling of it, and how you guide the camera operator to execute that pan, all contributes to the overall feeling.” Jared has collaborated with Eggers on all of his films, beginning with the short film, The Tell Tale Heart, The Witch, The Lighthouse and The Northman. The two share a love of fairy tales and the golden age of illustration. As with most of their films, the two had several months to prep for Nosferatu. They talked through the scenes and shotlisted the movie, while Jarin drew small storyboard thumbnails as a draft for the storyboard artist. “I love the luxury of a long prep time,” says Jarin. “The ideas that you come up with over the course of four months, as opposed to four minutes, are much, much better, you know? Like if I'm just reacting to stuff in the moment, I'm going to go for the easiest thing. But if I have time to come up with an idea and think about how to surprise people, that's a lot more fun.” This meticulous approach extends to post-production, where Jarin even directed the lighting for visual effects. "I enjoy being an obsessive perfectionist," he admits. You can see Nosferatu in theaters and on VOD January 21. Find Jarin Blaschke: https://www.luxartists.net/artists/jarin-blaschke Flickr: https://www.flickr.com/photos/18192666@N00/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

The film September 5 is the story of the ABC Sports broadcasting team covering the terrorist attack at the 1972 Munich Olympics. It was the first Olympics to be broadcast live, when Israeli Olympians were taken hostage at the Olympic Village by Palestinian terrorists. The sports reporting team, initially focused on covering the games, finds themselves suddenly thrust into the role of live news reporters as the hostage situation unfolds. They have to grapple with the terrifying events while trying to inform the world about what was occuring. September 5 focuses on the pivotal role of media coverage in shaping public understanding of the crisis. While waiting for financing for September 5, cinematographer Markus Förderer and director Tim Fehlbaum spent three years researching and scouting for the film. They obtained permission to shoot at the Munich Olympic village, to fully set the film in the historical context. The television studio and control room were all built on soundstages. Once September 5 was finally green-lit, Markus had only a tight two-week prep period, during which he experimented with his own lens tuning and modifications. An avid lens hobbyist, Markus took some lenses apart, adding dust, smudges and fingerprints to some of the elements to give the film an authentic period look. They shot digitally on a RED V-Raptor on two cameras, with Markus operating one of the cameras himself. It was important to director Tim Fehlbaum to create a very claustrophobic feeling within the windowless television studio. "Tim was adamant that we only show what the characters would have seen," Markus explains. "The TV monitors became their windows to the outside world." The film blends original footage with real, archival news films and meticulously recreated scenes. Markus wanted the visual style to reflect the era, while maintaining a contemporary relevance. Both Markus and Fehlbaum were influenced by the look and feel of Natural Born Killers. The use of analog technology such as flickering fluorescent lights and TV monitors became an important tool for Markus to create a state of heightened tension. "If we flicker these monitors, which we use as a key light source in the dark control room, the whole image will pulse," Markus says. "It looked really crazy, but it was fascinating. We synced it so it looks right on camera. As the tension gets higher and higher in certain scenes, like when we see the masked man on the balcony, we dynamically ramp up the flicker frequency of our film lights." You can see September 5 wide in theaters January 17th. Find Markus Forderer: Instagram @markusforderer Check out Markus' passion project, CINEFLARES. https://lenses.cineflares.com/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

We welcome back Phedon Papamichael, ASC, GSC for the fourth time on The Cinematography Podcast. Cinematographer Phedon Papamichael started preproduction on A Complete Unknown with frequent collaborator, director James Mangold in 2019, before being postponed by the pandemic. They began prepping in summer 2023 and shooting in earnest by the early spring of 2024, which worked well for capturing the changing of the seasons in New York. The long lead time was a huge benefit for both the cast and crew. Phedon and the production team had time to research the time period, create an extensive lookbook of period photos and mull over the script and characters. Actor Timothee Chalamet had time to practice guitar and harmonica and was able to perform most of the songs live. Phedon was very familiar with the music of Bob Dylan, and grew up listening to the artist. He wanted to capture how Dylan evolved and developed as a musician. The set was very intimate, and Chalamet completely absorbed the character of Bob Dylan, frequently watching playback on set, then finding something new with each take. “It was very much this organic process of us capturing and him discovering the character,” says Phedon. “And you could just see it was so enjoyable for every crew member. Everybody was inspired by it.” A Complete Unknown used very few sets and stages, and the production designers transformed two blocks of New York City streets into the 1960's. Phedon shot digitally on the Sony Venice 2 camera, which was then scanned to a film negative and then scanned back to digital. Influenced by the films Klute, The Godfather and The French Connection, he wanted A Complete Unknown to have the Kodachrome look with an earthy color palette. Phedon used lighting that was appropriate for the time period as well, using white and tungsten lights, enhanced with numerous practicals on the set. He embraced the mood of the nightclub scenes, with a single source spotlight hitting the performers on stage and the audience lit with candles on the tables. As the movie progresses into the '60's and Bob Dylan becomes more famous, Phedon began to change the look of the film. “It becomes a little bit more expressionistic, a little more aggressive,” he says. “The stage lights become a little bit bigger, the highlights are a bit hotter, the contrast and shadows are more extreme.” Phedon's ultimate goal as a cinematographer is to stay subtle. “I never want anybody to perceive or feel that I'm lighting something,” he says. “I never want it to feel like there's a craftsman behind it. I always like the photography to just allow us to focus on the character, and really not distract from it.” Find Phedon Papamichael: Instagram @papa2 Hear our previous interviews with Phedon Papamichael on The Trial of the Chicago 7, Ford v. Ferrari, and our live podcast interview. You can see A Complete Unknown currently in theaters. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Venus Optics, Laowa lenses: https://www.venuslens.net/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Cinematographer Lawrence Sher, ASC has a career that spans indie favorites like Garden State to blockbuster hits like the Hangover movies and Joker. But it was the arduous process of creating lookbooks for Garden State that sparked an idea: a comprehensive, searchable database of cinematic images. This idea evolved into ShotDeck, a powerful tool for filmmakers and creatives alike. Larry's initial struggle involved manually grabbing screenshots from DVDs and tapes. Google Images offered some help, but the images lacked the cinematic quality he sought. By 2015, he began working with a computer engineer to build a solution, realizing that if he found such a library valuable, his colleagues would too. After years of beta testing, ShotDeck officially launched as a company in 2020. ShotDeck can also be used beyond pre-production pitch decks. “In my day to day, what I realized was every director I communicated with, across all the other departments, we were constantly in need of communicating creative ideas,” Larry says. “It's difficult to communicate creative ideas with words. Having images that you can point to with a director is the easiest way.” Larry would like ShotDeck to become the "visual IMDb," housing an exhaustive collection of cinematic imagery. Recently, ShotDeck partnered with Canva, integrating its library directly into the design platform. This allows Canva users to seamlessly access and incorporate over 1.5 million high-definition film stills into their projects, streamlining workflows for filmmakers, designers, and content creators. For Joker: Folie à Deux, Larry and director Todd Phillips continued their 15 year collaboration. Certain scenes of the movie were partly influenced by The Sonny and Cher Comedy Hour. Larry had to rely on using screen grabs from the show's DVDs as visual references, since they weren't inputted into ShotDeck yet. Joker: Folie à Deux maintains a visual connection to the first Joker, but expands on the original by embracing more fantastical elements. They scaled up the stages and sets, which provided greater flexibility in lighting and camera movement. Larry was able to use more color and a wider range of lighting techniques during the musical sequences, as Arthur Fleck becomes more and more detached from reality. He sees Joker: Folie à Deux as an operatic tragedy, exploring the internal conflict of a person battling their shadow self and delving into the complexities of love and its potential to drive someone to the edge. Larry defends director Todd Phillips's creative vision for the sequel. “When you make a sequel, you have to have a new approach to the material, otherwise why do a sequel to anything?” he points out. “This idea that Todd just took $200 million and just lit it on fire is absurd. The greatest thing about Todd as a filmmaker is he's at heart a gambler. He's a gambler in the way that the movie business should be a gamble. What are we doing this for if not to continue to express something that isn't simply trying to service the audience? We're giving something that you might not have asked for.” He continues, “The movie we made and the way we approached it, it's exactly what we were trying to do.” Find Lawrence Sher: Instagram @lawrencesherdp Hear our previous interview with Lawrence Sher on Joker: https://www.camnoir.com/ep56/ You can see Joker: Folie a Deux currently streaming on Max. Shotdeck is now available on Canva. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Anora is the story of Brooklyn, New York exotic dancer, Anora, who meets Ivan, the son of a Russian oligarch at the strip club. They impulsively marry, and once the news reaches Ivan's parents, their henchmen kidnap Ani in order to force her and Ivan to get the marriage annulled. Anora won the 2024 Palme d'Or at Cannes, and is a potential 2025 Oscar nominee. Cinematographer Drew Daniels first started working with director Sean Baker on the film Red Rocket. Drew was a fan of Baker's for years- he liked his sensibility and humanity, and his unconventional ethos behind his filmmaking approach. Drew attended the University of Texas film school, where filmmakers Robert Rodriguez and Richard Linklater are alums. He appreciated the UT film program's independent, DIY approach. When Drew had the opportunity to work with Baker on Red Rocket, he said yes before he even read the script. “What's so refreshing about working with Sean is, you're flying by the seat of your pants, but you're also the leader of this passionate little rag tag army,” says Drew. Drew and Baker began talking about Anora during the editing of Red Rocket. Baker had a very specific idea of what he wanted, so they began testing and research scouts very early, driving to locations and discussing the movie before the script was fully written. Rather than an extensive shotlist, Drew and Baker scouted and blocked out scenes on the shoot locations. The film's striking imagery, from gritty urban landscapes to opulent mansions, was shot on Kodak 35mm film with Lomo anamorphic lenses. “Anora is different than a lot of Sean's films, because Sean's films often deal with people who are on the fringes, or people who are in a lower socioeconomic standing,” says Drew. “It takes on oligarch wealth and opulence, so it needed to be a bigger, more magical format- something that will fully embrace the scope of that mansion.” Choosing to film on 35 elevated the story of an exotic dancer like Ani into something beautiful and elegant, but Drew also wanted to reflect her attitude and scrappiness. He and Baker were influenced by 1970's New York films such as The Taking of Pelham 1 2 3, to find the right amount of gritty imperfection. “Sean is a social realist filmmaker, but he wants his films to have a look and style,” says Drew. “He's very visual, and we constantly talk about the edit, the pacing, the energy, how it's going to cut.” Find Drew Daniels: Instagram @drewalandaniels Anora is currently in theaters, on VOD, and will be available to stream on Hulu. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Cinematographer Alice Brooks, ASC was in post on In The Heights four years ago when director Jon M. Chu let her know their next project together was adapting the world-famous Broadway musical, Wicked. With such a huge fan base, Alice and Chu wanted to make sure they respected the musical, but they both wanted to find a dynamic, filmic way to approach the material. “John kept instilling in us, don't make the obvious choices,” Alice says. “We were all creating a world of Oz together that no one had ever seen before, that was magical and wondrous and a little bit different.” Alice chose to go back to the source material for inspiration- the Oz books by L. Frank Baum. “Every single paragraph has an incredibly rich color description. Beautiful, poetic, just the world of Oz in color. It's unbelievable. And color means something, color is symbolism in Oz. No color is arbitrary.” Alice embraced all the colors of the rainbow for Wicked. They chose the color palette of pink and green for Glinda (Ariana Grande) and Elphaba (Cynthia Erivo), with pink hued lighting to represent hope and connection between the two characters. In Wicked, good and evil are not as clearly defined as in typical fairy tales, since it's the origin story of how Elphaba becomes the wicked witch. Alice knew she could play with light and contrast between the two characters. Sunrise lighting would represent Glinda, while sunset and darkness represented Elphaba. Alice made notes in the script for time of day as references for each character. She worked closely with gaffer David Smith to create complex lighting cues throughout the film to match sunrise for Glinda and sunset and darkness for Elphaba. Early on, the production team discussed how to create the magical world of Oz without relying on bluescreens or virtual production. In London, they built real, massive, practical sets just like in old Hollywood movies. Alice remembers that Wicked used 17 sets that were 85 feet by 145 feet, with four huge backlots: Munchkinland, Shiz University, the train station, and Emerald City. Each was the size of four American football fields. “We had real tangible spaces to light and to create in,” she says. “And we didn't live in a blue screen world that so many movies do these days.” To create just the right green skin tone for actress Cynthia Erivo, Alice and makeup designer Frances Hannon did several makeup and lighting tests on different shades of green. It took a lot of trial and error to find the right shade of green- many hues simply looked like paint, or appeared grayish under the lights. As the DP, Alice also had to choose what lenses Wicked would use to capture both the scope and intimacy of the story. She worked with Dan Sasaski, Panavision’s senior vice president of optical engineering and lens strategy, to create the Ultra Panatar II series of lenses for the film. For closeups, Alice chose a 65 mm lens for Cynthia Erivo and a 75mm lens for Ariana Grande because she found that a slightly different focal length for each actress worked best, due to the different shapes of their faces. Find Alice Brooks: Instagram @_alicebrooks_ Hear our previous interview with Alice Brooks on In the Heights. https://www.camnoir.com/ep130/ Wicked is currently in theaters. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

We were incredibly saddened by the loss of 1st Assistant Director and producer, Adam Somner. You can hear his fantastic energy, enthusiasm and entertaining storytelling as a guest on The Cinematography Podcast. Here we have re-posted his 2021 episode in memorial and tribute to his blockbuster career. He will be greatly missed. The job of the assistant director is to work in concert with the director and the DP to get everything done on a movie set. As a 1st AD, Adam Somner is trusted by the industry's top directors to anticipate their needs, motivate the crew, figure out the schedule, and drive the entire production forward to finish each day on time. He finds the best way to keep everything moving smoothly on set is though humor, high energy and uniting everyone as a group, persuading people to do things on the schedule and timeline needed to complete the job. Adam's father, Basil Somner, worked for MGM Studios in England, and through him, Adam got a job as a runner/production assistant at age 17. He began working on movies in the late '80's, like Indiana Jones and the Last Crusade, Superman IV, and Who Framed Roger Rabbit? He worked under many assistant directors, observed how they took charge on set, and decided he was really interested in becoming an AD. Adam has worked on eight Ridley Scott films to date, as well as several of the late Tony Scott's films. He was first hired on a Ridley Scott film as a third assistant director on 1492: Conquest of Paradise and White Squall, then moved up to second assistant director on Gladiator, (with DP John Mathieson) where he learned how to manage a huge crew of extras and background action from the 1st AD, Terry Needham. On Black Hawk Down, Adam was promoted to first assistant director for the second unit. Black Hawk Down was shooting in Morocco, and the second unit was responsible for most of the helicopter sequences, with lots of moving parts and extras, involving real Black Hawk helicopters and real U.S. military soldiers. After Black Hawk Down, Adam got the call to begin working with Steven Spielberg on War of the Worlds, where he quickly learned to read Spielberg's mind and keep an eye on the details. He's worked with Spielberg on ten films now, including Munich, Lincoln, and Ready Player One. A 1st AD is responsible for coordinating most of the background action. Adam's ability to work on big sets with lots of action, extras and special effects led director Paul Thomas Anderson to hire him for There Will Be Blood, and Anderson has since become a personal friend. Adam finds Anderson's on-set approach to be very thoughtful and measured. Unlike the action-heavy films Adam has worked on, he knew it was important to keep the crew and background actors quiet and subdued on Anderson's films with heavy dialog, such as The Master and Phantom Thread. For The Wolf of Wall Street, Adam was thrilled to work with director Martin Scorsese. Scorsese and cinematographer Rodrigo Prieto had Adam sit in during their preproduction shotlisting process, so they were all thoroughly prepared. Scorsese loves shooting scenes with complex background action, and Adam delivered. He carefully rehearsed all the extras in different stages of panic as the brokers watched the stock market crash. For the famous in-flight orgy scene, Adam wasn't totally sure how he wanted to deal with not just one sex scene, which is hard enough, but several at once. So he decided to hire a choreographer to help rehearse and plan all the action, making sure each background player knew exactly what they were doing and taking care that everyone was comfortable with their role in front of the camera. Adam was excited to work with Alejandro González Iñárritu on some of Birdman, and as the 1st AD on one of the may units shooting The Revenant, where Iñárritu and the DP Emmanuel Lubezki “Chivo” wanted everything shot and rehearsed during magic hour. Rehearsals were incredibly important on both Birdman and The Revenant...

Cinematographer John Mathieson, BSC began his career shooting music videos for bands like Nirvana and Hole, moving into documentaries and commercials before working in feature films. Rather than going to film school, he joined friends who formed a film collective and everyone learned from each other. Director Ridley Scott saw his work on the movie, Plunkett & Macleane, and approached him to shoot Gladiator. “I never thought I'd be the sword and sandals guy,” says John. “I was doing grunge videos!” John was nominated for an Academy Award for Best Cinematography for Gladiator. For Gladiator II, John embraced the advancements in visual effects technology, which allowed for more efficient and creative storytelling. While the film was shot digitally, his approach to cinematography remained similar to the first film. “We didn’t do much different with the cameras or the language of the story,” he says, “but parts of the filmmaking process have gotten faster and easier. We shot on digital in about half the time it took to shoot Gladiator.” John focused on creating a visually striking world in Gladiator II, inspired by historical paintings and the contrasting environments of Rome and the desert. He wanted high contrast lighting, especially in the desert scenes at the beginning of the film and in the gladiator arena so that it looked dusty, hot, and overexposed. In contrast, the light inside the Roman homes is warmer and richer. John describes it as, “Everything's got dust and then Rome is colorful, opulent- grapes, wine, peacock greens, paisleys, fabrics, all that kind of decadence-it's camp, it's vulgar, it's Vegas 1970.” When choosing projects, John prioritizes scripts that resonate with him and directors who can effectively guide the filmmaking process. He enjoys exploring and working in different film genres. “I like to think I don't have a style, you know, that I can adapt to what is on the page or what is important,” he says. Gladiator II is currently in theaters. Interested in more Gladiator? Hear our past interview with Adam Somner, Gladiator 2nd AD and frequent Ridley Scott collaborator: https://www.camnoir.com/ep125/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

The movie Saturday Night is based on the true story of the 90 minutes leading up to the 1975 premiere of NBC's Saturday Night Live. The comedy-drama isn’t just a film about the iconic show; it’s an immersive experience that captures the frenetic energy and chaos from the point of view of the show's creator, Lorne Michaels. To bring this chaotic night to life, cinematographer Eric Steelberg and director Jason Reitman, longtime collaborators and friends, embarked on a unique filmmaking journey. Reitman wanted to transport the audience back to 1975 and capture the feeling of Saturday Night, rather than make a faithful retelling of the experience. To achieve this, the production team meticulously recreated the original Saturday Night Live set, right down to the color palette and costumes. Eric and Reitman wanted to create an energy of the ticking clock, the pressure and excitement that carried the group through the night, through the eyes of Lorne Michaels. They achieved this through dynamic camera movements, close-ups, and a chaotic visual style. “We tried to make everything feel like it’s surrounding Lorne and putting downward pressure on him,” Eric explains. “Every which way he turns, he goes into a door he cannot open. He runs into groups of people who don’t know who he is. The goal was to show that within the camera frame but also create an energy that carried us through those 90 minutes and heighten that time pressure.” Eric and Reitman spent a long time in preproduction, shooting the entire movie on an iPhone first while the set was being built. This allowed them to experiment with different camera angles, blocking, and pacing. They also chose to shoot the movie on 16mm film, a decision that was met with skepticism from the studio. “Going to a major studio and saying that you want to put something in a theater that’s shot on 16mm, you don’t get a good, excited, nor favorable response from them,” Eric says. “I think that's largely because of the unfamiliarity with it and because it's not done.” However, he believed that 16mm was the perfect choice for the film, and he extensively tested both 16mm and 35mm film stocks. Eric found 16mm to work the best. The film grain could be controlled on the set with slower-speed stock and very hard, direct lighting. Working with older tungsten lights on the set was a bit of a learning curve, but Eric enjoyed the creative challenge of learning something new. The opening shot of Saturday Night is a single, unbroken take that sets the tone for the entire film. It’s a testament to the meticulous planning, rigorous rehearsal, and sheer determination of the filmmakers. Eric and Reitman knew that this opening shot had to be perfect. They carefully choreographed every camera movement, every actor’s entrance, and every line of dialogue. “Jason wanted to tell everybody right from the beginning, ‘This is the ride we’re going to be on, and this is how overwhelming it feels,’” says Eric. “It wasn’t going to feel overwhelming to the audience until we felt overwhelmed.” The day before the shoot, the entire cast and crew spent hours rehearsing the sequence. However, the next day, when it came time to capture it on film, things didn’t go as planned. Take after take, something would go wrong – a missed line, a botched camera move, a technical glitch. But Eric and Reitman were determined to get the oner without cheating. After over 20 takes, they finally nailed it. The opening shot was in the can. The rest of the production went smoothly, with the camera operators becoming increasingly adept at executing complex camera moves. Near the end of the shoot, Reitman decided to revisit the opening shot. On the very last day of filming, they again spent hours re-shooting the sequence, once again taking over 20 takes to finally get it. “So, the very first and very last things we shot for Saturday Night was the opening oner,” says Eric. Find Eric Steelberg: http://www.ericsteelberg.com/

Thelma is a heartwarming and inspiring action comedy about Thelma Post, a 93-year-old woman who falls victim to a phone scam and loses $10,000. Determined to reclaim her money, Thelma embarks on a thrilling adventure with her friend Ben (Richard Roundtree) on his borrowed mobility scooter across Los Angeles. As Thelma, June Squibb captivates with her portrayal of a feisty and independent senior citizen out for justice and redemption. Thelma challenges ageist stereotypes and inspires viewers to realize that they can fight back against injustice at any age. Director and writer Josh Margolin's masterful storytelling and keen eye for detail bring Thelma's journey to life. He wrote the script from a place of love and admiration for his own grandmother, and enjoyed playing with action adventure elements. Josh admired cinematographer David Bolen's documentary film, Some Kind of Heaven, which used a natural and humanistic style. “In making this movie, it was so important to me to find a partner who saw Thelma the way I saw it and wanted to bring a filmic look to it, but also be able to have fun with it,” says Josh. David found the script incredibly relatable, since he also has a special relationship with his grandmother. He knew exactly how he wanted to approach the visual language of Thelma. With a background in shooting documentaries, David wanted Thelma's world to feel real, so that audiences would emphasize with her life. “Documentaries have really influenced how I film narrative work,” he says. “I think it's important for things not to feel overly lit or over the top. I'm chasing that feeling of realism and that subjectivity that a documentary can bring.” David chose to shoot on the ARRI Alexa 35, which was brand new at the time. During preproduction, David found the camera responded well to natural street light and shooting in nighttime conditions, since a good part of the film takes place at night. With only a 25 day shoot, Josh and David created an extremely detailed shotlist. Josh was very aware that working with older actors meant that the production needed to work within their capabilities. The production team kept everything intimate and small, and the set felt like a close-knit family. “The logistics of it were challenging on this film,” says Josh. “It was a quick schedule and you are with elderly actors. So, you know, as capable as June is, and as amazing as she is, you don't want to do a bunch of takes on something.” He felt confident that they could adapt on the fly and adjust to practical realities of certain moments. “On the page, everything is one way, and then the second you're doing it, things change,” says Josh. “I think doing a lot of homework and also being able to be nimble was really helpful for shooting an indie in L.A.” Josh, who also edited Thelma, did not make the deadline to submit for the 2023 Sundance Film Festival, but it allowed him the luxury of a long postproduction process and screenings for friends and colleagues. Once he submitted the film to Sundance for 2024 consideration, Josh felt pessimistic about their chances. But not only did Thelma get into the festival, it was given a world premiere screening. Shortly after, Magnolia Pictures picked it up for distribution. Find Josh Margolin: Instagram @jmargo999 Find David Bolen: Instagram @davidbolendp Thelma is currently available for rent on Amazon, AppleTV, or other VOD services and will be streaming on Hulu. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/EN-US/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

In The Old Man Season 2, former CIA operative Dan Chase (Jeff Bridges) is forced to confront his past when his nemesis, Afghan warlord Faraz Hamzad kidnaps his daughter, Emily (Alia Shawkat). Chase and his former FBI handler, Harold Harper (John Lithgow), must navigate a dangerous world of international espionage and deadly consequences to rescue Emily. The season explores themes of identity, loyalty, and the sacrifices made for family. A key factor in bringing The Old Man Season 2 to life is the stunning cinematography of Jules O'Loughlin, ASC, ACS. He skillfully balances the show's dramatic tone with visually striking imagery. Jules is drawn to projects that prioritize character-driven storytelling, and loved witnessing the performances of Jeff Bridges and John Lithgow, two iconic actors who bring depth and nuance to their roles. “Jeff Bridges is so lovable, and an awesome guy,” says Jules. “I got into this to be able to photograph a great actor doing their thing, and watching two great actors going toe to toe.” Despite the show's intense action sequences, Jules believes in the importance of grounding the story in reality. The production team meticulously researched historical details and cultural nuances to create an authentic world. “It's got to feel real, it's got to feel grounded when you walk in,” he says. “If you are true to the world that you're building, then you can pretty much do anything.” His main guiding principle as a cinematographer is that overshooting is the enemy of style. A good cinematographer, and a good director, should be confident in their style and avoid “smotherage”- shooting a ton of different angles that probably won't be used and aren't needed. Jules also was a cinematographer for Season 1, which began production in 2019. By 2020, due to the pandemic, the production stayed in the U.S. and shot in Santa Clarita, just north of Los Angeles, for the hills of Afghanistan. During Season 2, the production continued to use the Santa Clarita location. Color grading, using tobacco filters and finding the right LUT were important tools to make it look like Afghanistan. For a more authentic mountain backdrop, they used plate photography shot in the Sierra Nevadas to composite into the background. Though the series is full of action, Jules did not want to sacrifice the storytelling with fast cuts and camera movements, since there is so much great acting on screen. He usually avoids excessive camera movements and flashy techniques, opting instead for a more restrained approach that allows the performances to shine. “Every time you cut away from the character, you're losing the chance to connect with them,” he says. Action sequences, especially in episode 3, were meticulously planned, storyboarded and rehearsed. Each episode usually had two cameras, but the production used as many as five for a firefight sequence in an Afghan village. Find Jules O'Loughlin: https://www.julesoloughlin.com/ Instagram: @jules.oloughlin The Old Man Season 2 is streaming on Hulu Hear our previous episode with Jules O'Loughlin: https://www.camnoir.com/ep177/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

In the horror film Smile 2, pop star Skye Riley, preparing for a world tour, encounters a troubled friend who passes on the sinister "Smile" curse. As Skye's life spirals into chaos and her sanity deteriorates, she must confront the terrifying entity and its deadly grip before it consumes her and everyone around her. Cinematographer Charlie Sarroff and director Parker Finn wanted to be sure that the sequel to Smile was more than just a rehash of the same basic idea. They wanted to push and elevate the basic storyline into something bigger, while keeping what worked in the first film intact. Smile 2 definitely has a much bigger scale, with stage lighting and live performance sequences for pop star Skye Riley (Naomi Scott). Early on, Charlie knew he would have to film and light stage performances. He worked closely with lighting designer Brian Spett to get the stage lighting just right. Together, Charlie, Finn, and production designer Lester Cohen created a color palette consisting of reds with silver and blue elements. “Being a cinematographer is about surrounding yourself with great people and then asking them for help,” says Charlie. Charlie wanted some scenes to “bloom” more, almost so that they looked overexposed. Some parts of Smile 2 were shot on Kodak film to create this effect, and then the film went through a skip bleach process to add to the bloom effect. Then the film was outputted to digital for mastering and further color correction to really make the reds pop. Charlie feels that the process adds a lot to the look. “It smooths out the film, and adds twinkle to the lights. It just infuses into the image a little bit more. I think it can help effects and makeup, too, without being super grainy.” Smile 2 used many of the same camera movements and lenses as Smile, including plenty of zooms to add to the discomfort. Charlie used a very specific lens for people with the smiling curse. “I shot each smile on a very wide lens, a 28mm- when you're that close up on that lens, it makes people feel extremely uncomfortable. We never used long lenses,” he adds. “I used a lot of zooms, for specific moments when heavy things are going down to hone in on something. Zooms provoke a different emotion, especially at the end (of the film.) Zooming in shows that Skye is getting closer to the curse.” Smile 2 is in theaters now. Find Charlie Sarroff: https://charliesarroff.com/ Instagram: @charliesarroff Hear our previous interview with Charlie Sarroff on Smile: https://www.camnoir.com/ep187/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by ARRI The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

In The Substance, Elisabeth Sparkle (Demi Moore) is an aging celebrity fitness instructor who's fired once she turns 50. She injects herself with a black market drug that creates Sue (Margaret Qualley), a younger, more perfect version of herself. While initially tempted by the promise of renewed youth and fame, she soon realizes that the drug comes with a set of unexpected and dangerous side effects. The body horror film explores unrealistic beauty standards and the dangers of worshiping fame and youth. Though he wasn't a horror fanatic, cinematographer Benjamin Kračun grew up with David Cronenberg and John Carpenter movies. Ben admired visionary director Coralie Fargeat's work on Revenge. Likewise, she was impressed with his work on Promising Young Woman. Ben read through the script of The Substance, then immediately read it again. “I felt emotional reading it,” says Ben. “I don't usually feel that when reading these types of genre scripts. Even though it speaks more to women aging, I think everybody can relate to the fact that we're all aging, everyone has issues. The minute I read it I was just so in tune with Elisabeth." Together, Ben and Fargeat have crafted a film that's equal parts grotesque and darkly satirical, a twisted reflection of our obsession with youth and beauty. The Substance begins in a glamorized Hollywood world that feels romantic and timeless but quickly descends into a nightmare. Ben and Fargeat chose to go old school, using a Translight backdrop on the apartment soundstage for the view overlooking Los Angeles. To differentiate Elisabeth's world from Sue's, Ben used a special pink swirl lens to emphasize color and vibrance on Sue. In contrast, he chose to light Elisabeth with hard light and cooler, bluer colors. Ben found that spherical lenses worked best for the numerous closeups in the film and against the Translight backdrop. As Elisabeth's world crumbles, so do the camera angles, and Ben tested them all during prep. Initially, the frames are meticulously centered, reflecting the order she desperately clings to. But as chaos ensues, the angles become more extreme, mirroring her unraveling sanity. The set for Elisabeth's bathroom was huge and completely white, and a good deal of the action takes place in that room. It was challenging to shoot in that space, but it became a white canvas for Ben's masterful use of camera movement. Fargeat meticulously storyboarded every gruesome transformation, ensuring seamless transitions between practical effects and subtle digital tweaks. All the special effects in the movie were done practically, with special builds, makeup, prosthetics, and movie blood. Digital VFX was used only to help stitch together or smooth out some of the makeup and prosthetic effects. Rather than use a second unit, Ben shot every single frame alongside Fargeat, who wanted to give the film her full attention. This included many top down perspective shots throughout the film, along with several inserts and close ups. Once the cast was wrapped, Ben and the crew moved on to the close-up shots and inserts of the lab on a soundstage where “the substance” is created. In the end, it was the longest shoot he'd ever done at over 100 days. When The Substance premiered at Cannes, Ben was amazed at the audience's reaction. “No one had seen it. We didn't know what the reaction was going to be,” he says. “It was amazing to see it come together in the cinema. That film stands out, it changes with a large audience. When they understand it's satirical, they laugh through the third act.” The Substance is in theaters now. Find Benjamin Kračun: www.benjaminkracun.com Instagram: @benkracun Hear our previous interview with Ben Kračun on Promising Young Woman: https://www.camnoir.com/ep116/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

The spooky thriller House of Spoils on Amazon Prime is about an ambitious chef, Ana (Ariana DeBose) who follows her dream to open a restaurant on a remote estate in the woods. She quickly realizes it's haunted by the vengeful spirit of the previous owner. As Ana battles stress, self-doubt, a skeptical investor, and kitchen chaos, the ghost's sinister presence threatens to sabotage her every step. When cinematographer Eric Lin met with directors Bridget Savage Cole and Danielle Krudy (Blow The Man Down), they presented him with several inspirational references by surrealist painter Leonor Fini and Dutch painter Adriaen van Utrecht. Both artists captured the unsettling feeling of eerie decay while being surrounded by the natural world. Nature, rot and its influence on bodies became the movie's core aesthetic. Films like Black Swan (psychological horror), The Shining (single, oppressive location) and Phantom Thread (artistic obsession) also served as inspiration. Eric embraced the use of zoom lenses in the film. “Zooms are super psychological and we tried to find ways that we would sneak them in, because it has this very unsettling feel,” he says. Because Ana is a chef, food also played a major role in the film. “I was interested in trying to find a way to represent the colors that had a feeling of decay- almost a mushroom, moldy look,” Eric explains. “Because what comes from that decay is life, right? It's like creativity is born through all this death and decay. And so I wanted the colors of the film to represent that feeling.” He created a LUT where the vibrant colors stood out while the browns and greens stayed dull and earthy. The kitchen was really being used to cook the dishes, and a food stylist helped to plate all the ingredients. Second unit would then shoot the dishes as they were presented to the table. House of Spoils was shot on location at an estate in Budapest. The crew built a fully functional kitchen set, allowing for meticulously planned lighting. The garden outside the kitchen was also created by the production design team and the greens department. The natural fog blanketing the estate's garden provided the perfect eerie atmosphere, eliminating the need for fog machines. Eric's passion for cinematography wasn't always his career path. After studying at UC Berkeley, he switched gears to study film in grad school at NYU. He managed to land a job as an assistant editor, but cinematography was his true passion. Eric shot music videos and independent films as much as he could on the side. While shooting music videos and independent films, his dedication paid off. The short film Missing went to the Cannes Film Festival. Eric's cinematography is also in several Sundance Film Festival projects, such as The Sound of Silence, Hearts Beat Loud, and I'll Be Your Mirror (originally titled Blood). House of Spoils is currently streaming on Amazon Prime Video. Find Eric Lin: www.eric-lin.com Instagram: @holdtheframe Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

The new movie Longlegs is a psychological horror film that follows FBI Agent Lee Harker as she investigates a series of mysterious murder-suicides. The victims, all families, leave behind cryptic messages signed "Longlegs." As Harker delves deeper into the case, she uncovers a dark connection to the occult and must confront a terrifying supernatural entity. For cinematographer Andrés Arochi, technical mastery is key, but it's always in service to the story. “It has to come from something inside you that says, 'I want to create this' and then you find a technical way to do it,” he says. “For me it's always trying to be true to that instinct and to whatever feels right, and when you do it, then you're talking about yourself so it's easy to see yourself reflected.” Longlegs is Andrés' first international feature. For the past 12 years, Andrés has been working as a DP in Mexico. With no formal training, he began taking photos of friends in the music scene at age 17. Soon, he began creating projection video displays for concerts and shooting music videos and commercials. This led to work on huge music video and film sets as an on-set photographer, where he met Mexican cinematographers Guillermo Garza (the cinematographer of The Thicket), Alexis Zabé and Galo Olivares. Standing next to these skilled DPs with his camera in hand allowed Andrés to learn alongside them, and he would watch and ask questions, often copying their settings on his camera to experiment. In his spare time, Andrés would go out and practice the new techniques he learned, shooting low-budget films and music videos for friends. Fellow Mexican cinematographer Galo Olivares shot director Osgood Perkins' Gretel and Hansel, and he introduced Andrés to Perkins when the director was looking for a DP for Longlegs. Andrés was drawn to the humor in the Longlegs script, and loved that some comedy existed, even within a horror film. Unlike a lot of cinematographers and directors, Andrés and Perkins didn't create a lookbook or speak in depth about filmic references, such as Silence of the Lambs and Se7en, which were influences for Longlegs. Instead, Andrés says, “When we did talk about movies, it was more movies that had nothing to do with the genre. We talked a lot about My Own Private Idaho, Drugstore Cowboy—a lot of Gus Van Sant 1990s indie America filmmaking. Elephant was an influence on the way we used Steadicam.” One artistic reference Andrés used was The Son of Man by artist René Magritte, a painting showing a man with his face hidden by an apple. Andrés loved the idea of keeping the face of Longlegs the killer hidden at first. Andrés chose to shoot on 35mm film and in a 4:3 aspect ratio for parts of Longlegs that take place in the 1970's. “Using film changes the emotion. Everyone stays focused and shooting on film makes it necessary for everyone to rehearse. So, I decided to shoot 35mm for everything in the 1970s and go with a 4:3 aspect ratio, then we did 2.39 and shot on digital with the Alexa Mini LF for the 1990s.” During the Longlegs shoot, director Osgood Perkins wanted the film crew to use their creativity. “Oz was always encouraging the whole team, like do what you feel, you understand the movie we're doing, just do the best version of you,” says Andrés. “So I was very, very inspired, and that created the space for us to create from our hearts using the best tools we had.” Find Andrés Arochi:http://www.andresarochi.com/selected Instagram: @andresarochi Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://www.aputure.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Beetlejuice Beetlejuice cinematographer Haris Zambarloukos loved the original 1988 Beetlejuice as a young adult. With Beetlejuice cinematographer Thomas Ackerman as his inspiration, Haris wanted to pay homage to the first movie while pushing the boundaries of cinematic storytelling. “It was fun to make,” says Haris. “We really did enjoy ourselves, and it was a huge collaborative effort. It was a real delight and a pleasure to bring this to screen.” Haris chose to shoot Beetlejuice Beetlejuice on the Sony Venice 2. He likes the camera's ability to deliver a high-fidelity image with low-light sensitivity, which was perfectly suited for the film's atmospheric and often dimly lit settings. He worked closely with director Tim Burton to develop a meticulous lighting plan that would create an immersive and atmospheric environment for the actors. The spaces were designed to be functional in-camera, allowing for a more organic and spontaneous approach to lighting. The film's unique blend of live-action and animatronics was a high-stakes balancing act requiring exceptional coordination between the camera crew, lighting team, actors, and puppeteers. “On top of that, you've got Michael's incredible performance as Beetlejuice, which is full of energy,” says Haris. “And at that pace and that energy level, you only have so many takes. Then there's a camera move and 20 or 30 lighting cues just in a single 15 second take and that all has to work. So, in essence, we're all performing, and we don't want to let anyone down because the person that makes a mistake is the one that ruins it for everyone. I've never been on a film where we all worked in unison that way. But that's probably because I've only made one Tim Burton film, and there's no one else that works quite like him.” To create a distinctive visual language for the underworld, Haris used a palette of green and blue tones. Working with Burton, they pre-programmed RGB spectrum LED lighting for precise color control and creation of unique lighting patterns. The team was able to test and pre-light for a "repertoire" of looks that could be easily accessed and modified during filming. Haris used ARRI SkyPanel lights to control the time of day, creating a very theatrical, impressionistic effect of a lit sky outside the windows of the sets. Find Haris Zambarloukos: https://zambarloukos.com/ Instagram: @zambigram Hear our previous interview with Harris Zambarloukos: https://www.camnoir.com/ep162/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

The Thicket is a gritty Western thriller that follows a young man's quest to rescue his kidnapped sister from the clutches of the notorious Cut Throat Bill (Juliette Lewis). With a ragtag group of outcasts and the aid of the skilled bounty hunter Reginald Jones (Peter Dinklage), he embarks on a perilous journey through the unforgiving Texas wilderness. Inspired by classic Westerns like The Searchers, The Revenant, and McCabe & Mrs. Miller, director Elliott Lester sought to create a visually striking and emotionally resonant film. “I look more at photography and art to inform the feeling, because the moment you shoot that very first frame, you're dictating how that movie's going to be,” says Elliott. “Where you put the camera, it informs how the performance is going to feel. There was always something intriguing to look at in each frame of the movie.” The Thicket was backed by the streaming service Tubi and filmed in Alberta, Canada, during the harsh winter months. The cast and crew faced extreme conditions, including temperatures well below freezing. Despite the challenges, Elliott and his team managed to capture the rugged beauty of the wilderness and create a sense of authenticity. Cinematographer Guillermo Garza played a crucial role in bringing Elliott's vision to life. Their collaboration was marked by a deep understanding of naturalism and a commitment to creating visually stunning shots. "One of the reasons I collaborated with him was because he had an amazing understanding of naturalism," Elliott says. "He's a pretty remarkable DP." With no formal film school training, Elliott worked his way up through the ranks of music video production back in its heyday. His experience as a first assistant director on films like American History X provided him with valuable experience and the desire to become a director. "I was obsessive about directing," he admits. "Once I got my teeth into something, I was like a dog with a bone." Find Elliott Lester: Instagram: @elliottlester88 Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Shotcraft: Lessons, Tips & Techniques on the Art and Science of Cinematography is a new book by veteran cinematographer, producer and director Jay Holben. Shotcraft offers a comprehensive guide to the art and science of filmmaking. Based on his popular column in American Cinematographer, the book offers insightful essays and practical tips that cover a wide range of topics, from technical fundamentals to creative storytelling. Jay emphasizes the importance of understanding the technical aspects of cinematography while also nurturing one's artistic vision. He encourages readers to experiment with different techniques, test, try and learn about the latest technology, and build a strong network within the industry. Key takeaways: Master the fundamentals: A solid grasp of technical knowledge, including lighting, exposure, and camera movement, is essential for successful cinematography. Develop your artistic eye: Cinematography is as much about creativity as it is about technical skill. Experiment with different styles and techniques to find your unique voice. Build a strong network: Networking with other filmmakers can provide valuable opportunities, mentorship, and support. Create a compelling reel: A well-crafted reel is a powerful tool for showcasing your skills and attracting potential clients, especially before you have agency representation. You can buy Shotcraft: Lessons, Tips & Techniques on the Art and Science of Cinematography on Jay's website: http://jayholben.com/shotcraftbook Jay has a companion book to Shotcraft coming out next month. It covers tips and stories from the top cinematographers in the world such as Roger Deakins, Harris Savites, Janusz Kamiński, and Greig Frazier. Find Jay Holben: http://jayholben.com/ Instagram: @jayholben **WIN A COPY OF SHOTCRAFT! Like, Follow and Comment on our post for this week's episode on Instagram, Facebook or Threads and we will pick a winner** *Winner must be within the continental U.S.!* Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Hollywood has long been a place of glamour and storytelling, but its history with LGBTQ+ representation is complex and ever-evolving. Film critic Alonso Duralde dives deep into this fascinating world in his new book, Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film. Hollywood Pride is a history of queer Hollywood in chronological order, starting from the very beginnings of cinema in 1895 and journeying all the way to 2022. It's not just about the movies themselves; Alonso delves into the lives of the artists – actors, directors, writers, and more – who have shaped Hollywood, both on and off screen. "The book is a look at how queer history evolved over those decades, off the screen and in society," Alonso explains. "And then how that was reflected in the movies." Each chapter focuses on a specific period, highlighting the key LGBTQ+ figures and films of that era. It explores not only positive portrayals but also the coded messages and subtext that emerged during times of censorship, like the Hays Code era. Alonso argues that even negative portrayals hold certain significance. "Even negative inclusion is at least visibility and a reminder that we exist," he says. "It's not the greatest reminder, but it's better than nothing." The book examines Alfred Hitchcock's films, some of which are very homophobic, but still offer a glimpse of LGBTQ+ characters.There are also unexpected gems celebrated in the book, such as 1999's The Mummy, a film that has resonated with the bisexual community. By the 1970's, Dog Day Afternoon and Midnight Cowboy could more openly deal with gay characters, if not in the best light. Alonso especially enjoyed writing about Salome, Caged, I Am a Fugitive from a Chain Gang, Ed Wood's Glen or Glenda, and by the 1990's, the era of the New Queer Cinema movement. While celebrating the strides made in LGBTQ+ representation, Alonso acknowledges there are still many stories waiting to be told. "It feels like I was skimming the surface of a very deep topic," he says. But even a glimpse into this rich history is a valuable step forward, offering a deeper understanding of LGBTQ+ experiences in cinema and beyond. You can find Hollywood Pride as a book, ebook, or audiobook wherever books are sold. **WIN A COPY OF HOLLYWOOD PRIDE! Like, Follow and Comment on our post for this week's episode on Instagram, Facebook or Threads and we will pick a winner** *Winner must be within the continental U.S.!* Find Alonso Duralde: Instagram: @alonso.duralde Listen to our previous interview with Alonso Duralde about his Christmas film book, Have Yourself a Movie Little Christmas. https://www.camnoir.com/holiday2018/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://www.aputure.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz