Tag Archives: cinematography

PTS Presents Cinematographer’s Corner with SEAN PORTER

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sean_porterPodcasting Them Softly is thrilled to present a chat with cinematographer Sean Porter, who recently shot the film KUMIKO, THE TREASURE HUNTER, and who has the highly anticipated thriller GREEN ROOM set for release later this year from A24. He’s also finished a pair of very intriguing projects with THE TRUST, which stars Nicolas Cage, Jerry Lewis and Elijah Wood, and 20TH CENTURY WOMEN, from director Mike Mills, and starring Elle Fanning, Alia Shawkat, Greta Gerwig, and Annette Benning. Sean got his start working on a variety of shorts, features, and documentaries, and has roots firmly planted in indie film community, and you can just tell from observing his work that he’s a talent to seriously look out for in the near future. His work on KUMIKO was beyond striking, announching an exciting and dynamic new visual eye to emerge on the cinematic scene, and it’s a film that we here at PTS are massive fans of and hope everyone will get a chance to check out. We hope you enjoy this most excellent discussion!

PTS Presents Cinematographer’s Corner with Ken Kelsch Vol. 2

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kelsch ferraraWe’re back with our second volume with cinematographer Ken Kelsch.  This time we speak with him about more of his work with Abel Ferrara including WELCOME TO NEW YORK, THE ADDICTION and retouch on BAD LIEUTENANT.  We also speak with Ken about working with Eric Red on 100 FEET, his work with Stanley Tucci on BIG NIGHT and THE IMPOSTERS, and Sherry Hormann’s DESERT FLOWER.  Hope you guys have as much fun listening to this as we did recording this with Ken!

PTS PRESENTS CINEMATOGRAPHER’S CORNER with PAUL CAMERON

cameron powercast2

793c55ef-3227-46d8-82e3-3cb271a88e1fPodcasting Them Softly is extremely honored to present a chat with the fantastic cinematographer Paul Cameron. Paul has been responsible for shooting some of our absolute favorite modern action films, from his collaborations with the late Tony Scott including MAN ON FIRE, DEJA VU, and the BMW films entry BEAT THE DEVIL, to his groundbreaking work on Michael Mann’s COLLATERAL. Other efforts include the slick and gritty actioners GONE IN SIXTY SECONDS from director Dominic Sena and producer Jerry Bruckheimer, the crazy-fun cyber-terrorism thriller SWORDFISH with John Travolta and Hugh Jackman, the lens-flare gorgeous Total Recall remake, and the underrated thriller Dead Man Down. Paul has some massive projects coming up next year and beyond, with the HBO series WESTWORLD from Jonathan Nolan hitting TV screens in 2016, and he’s just wrapped principal photography on the latest PIRATES OF THE CARIBBEAN installment which is set for release in summer 2017. As most listeners of this podcast will know, we are both huge fans of Tony Scott and his artistically expressive aesthetic, so it was a real highlight to get a chance to speak with one of his key camera collaborators. We hope you enjoy!

PTS Presents Cinematographer’s Corner with KEN KELSCH Vol. 1

KELSCH POWERCAST

kelsch ferraraPodcasting Them Softly is honored to add Ken Kelsch, as the latest cinematographer to our series, Cinematographer’s Corner. Ken’s work helped shape my love for film with his frequent partnership with one of my absolute favorite filmmakers, Abel Ferrara. They have worked together on twelve films, starting with their first feature THE DRILLER KILLER, BAD LIEUTENANT, DANGEROUS GAME, THE ADDICTION, THE FUNERAL (which he was nominated for best cinematographer at the Independent Spirit Awards), Abel Ferrara’s segment in SUBWAY STORIES, THE BLACKOUT, R-XMAS, THE NEW ROSE HOTEL, CHELSEA ON THE ROCKS, 4:44 LAST DAY OF EARTH, and finally one of the very best films from last year, WELCOME TO NEW YORK. Ken has also collaborated with Stanley Tucci’s directorial efforts, THE BIG NIGHT and THE IMPOSTORS. Ken has shot the first two seasons of the television show, MEDIUM and friend of Podcasting Them Softly’s latest feature film, Eric Red’s 100 FEET.

PTS Presents DIRECTOR’S CHAIR with REED MORANO

MORANO POWERCAST

unnamed (1)Podcasting Them Softly is extremely excited to present our conversation with critically acclaimed filmmaker Reed Morano. Reed got her start as a cinematographer, having lensed the acclaimed indies Frozen River, Kill Your Darlings, The Skeleton Twins, and Little Birds, as well as shooting a number of episodes of the edgy and groundbreaking HBO series Looking. Currently, her emotionally powerful and visually stunning feature directorial debut, Meadowland, which stars Olivia Wilde, Luke Wilson, Elizabeth Moss, Kevin Corrigan, and John Leguizamo, can be seen in theaters in select cities and on various streaming platforms including ITunes. In January 2016, her director of photography skills will be seen yet again on the small screen, with the explosive looking new HBO series Vinyl, from executive producers Martin Scorsese, Terrence Winter, and Mick Jagger. And in the spring of 2016, Reed will begin production on her next feature, the contemporary war drama Lioness, with star Ellen Page. Reed‘s work is always stylish, personal, and incredibly cinematic, and we were honored to get a chance to speak with her! We hope you enjoy this terrific chat!

PTS Presents CINEMATOGRAPHER’S CORNER with TIM ORR

TIM ORR POWECAST

T.O. - Giant's Causeway Northern Ireland 2009-44 (1)Podcasting Them Softly is extremely proud to present our latest addition to Cinematographer’s Corner — Tim Orr! Tim is one of the busiest guys behind a camera currently working in Hollywood, having amassed 40 credits over the last 15 years. He’s the cinematographer of choice for filmmaker David Gordon Green, having shot all of the versatile director’s films, along with pairing up with a diverse field of directing talent on a wide variety of other projects. Tim has worked on some of our favorite comedies from the last few years, with credits including the instant classic Pineapple Express, Jody Hill’s brilliant Observe and Report, the underrated Seeking a Friend for the End of the World, and Mike White’s charming black comedy The Year of the Dog. He’s also no stranger to dramas, having shot the gritty Nicolas Cage film Joe, the dreamy Zooey Deschanel romance All the Real Girls, the Terrence Malick produced southern thriller Undertow, and film festival favorite George Washington. TV Credits include HBO’s hilarious Eastbound and Down and he shot the pilot for the upcoming Amazon original comedy Red Oaks, which was executive produced by Steven Soderbergh. In late October, his newest feature film hits the big screen — the highly anticipated Sandra Bullock political comedy Our Brand is Crisis, which was produced by George Clooney and Grant Heslov. One of his most recent efforts is something we’re super excited to see — Pee Wee’s Big Holiday– which marks the return of Pee Wee Herman — and was produced through Netflix and is set for release in March of 2016. We hope you enjoy this fantastic chat!

PTS Presents Cinematographer’s Corner with ALWIN KUCHLER

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Barclays' Commercial: Behind the ScenesShot on Pearl Street and Hanover
Barclays’ Commercial: Behind the ScenesShot on Pearl Street and Hanover

Podcasting Them Softly is excited to present a chat with cinematographer Alwin Kuchler, who has the highly anticipated new film Steve Jobs, from director Danny Boyle, hitting screens this weekend! Kuchler also worked with Boyle on their underrated science fiction thriller Sunshine, as well as having multiple collaborations under his belt with filmmakers as diverse as Michael Winterbottom (Code 46, The Claim), Lynne Ramsay (Morvern Callar, Ratcatcher), and Kevin Macdonald (the documentaries Marley and One Day in September). He also shot the incredible action thriller Hanna for director Joe Wright, and worked on PTS favorite Solitary Man, from filmmakers Brian Koppleman and David Levien, which stars Michael Douglas in one of his career defining roles. Kuchler‘s work has spanned various genres and he always brings an extremely stylish eye to all of his efforts. We hope you enjoy our latest addition to the PTS Cinematographer’s Corner!

PTS PRESENTS: CINEMATOGRAPHER’S CORNER with BOBBY BUKOWSKI

Bukowski POWECAST

TOOM_still2-750x500Podcasting Them Softly is honored to present a discussion with cinematographer Bobby Bukowski.  Bobby‘s most recent films, the groundbreaking Oren Moverman drama TIME OUT OF MIND and 99 HOMES, which is the latest from acclaimed indie filmmaker Ramin Bahrani, are in theaters nationwide right now. and we urge everyone to check them both out, as they’re two of the best films of the year. Some of his other excellent credits include THE MESSENGER and RAMPART, two more collaborations with Oren Moverman, INFINITELY POLAR BEAR with Mark Ruffalo, the mob-hitman thriller THE ICEMAN, Jon Stewart’s political drama ROSEWATER, and one of our favorites, ARLINGTON ROAD, which was of course directed by friend of Podcasting Them Softly’s Mark Pellington. Bobby‘s work is always extremely stylish and is always in perfect tandem with the narrative material no matter the genre, and it’s clear he’s crafted a strong relationship with Moverman, as the three films they’ve done together are some of the best of their respective years. We hope you enjoy our chat with Bobby!

PTS Presents CINEMATOGRAPHER’S CORNER with RUSS ALSOBROOK

ALSOBROOK POWERCAST

L14A1406Podcasting Them Softly is extremely proud to present a chat with director of photography Russ Alsobrook.  Russ is one of the go-to-guys for studio comedies, having shot such films as last summer’s box office hit Tammy, David Wain’s Role Models, and Superbad and Forgetting Sarah Marshall for producer Judd Apatow. He’s also forged a close partnership with writer/director/actor Mike Binder, collaborating with him on the Hollywood satire Man About Town, the fantastic and deeply underrated post 9/11 drama Reign Over Me, and last year’s thoughtful and provocative Kevin Costner drama Black or White. He’s also a force on the small screen, having shot 98 episodes of the smash hit comedy The New Girl starring Zooey Deschanel, as well as directing some episodes of that charming program. Other TV credits include work on Big Love, The Mind of the Married Man, Freaks and Geeks, Undeclared, and The Ben Stiller Show. He’s a unique talent in the sense that he’s shot some really big, comedy centered narratives but can also respond to dramatic material just as strongly, always with sharp, stylish instincts. We hope you enjoy our exciting chat!

CINEMATOGRAPHER SPOTLIGHT: STEVEN POSTER, ASC — BY NICK CLEMENT

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Veteran cinematographer Steven Poster, ASC has compiled a wide-ranging mix of theatrical and television credits throughout the years that stretch various genres and styles. After getting a start as a camera operator on Robert Altman’s brilliant 1978 comedy A Wedding, he moved into second unit work, getting a chance to cut his teeth on Close Encounters of the Third Kind, Blade Runner, Starman, and Big Trouble in Little China. In recent years, he’s developed a close working relationship with maverick indie director Richard Kelly on the cult classics Donnie Darko and Southland Tales, as well as the underrated sci-fi thriller The Box, which approximated the look and feel of the 1970’s in ways that few modern movies ever attempt. He shot the provocative Los Angeles sexual drama Spread from rising star director David Mackenzie (Perfect Sense and Starred Up), Ridley Scott’s 1987 neo-noir thriller Someone to Watch Over Me, audience favorite Rocky V, the subversive and totally wild sequel Big Top Pee Wee, and 80’s classics Strange Brew and The Boy Who Could Fly. In addition to his duties behind the camera, Steven currently serves as President of the International Cinematographers Guild, and in previous years, served as President of the American Society of Cinematographers. His upcoming projects for 2016 include the horror sequel Amityville: The Awakening, a new Richard Kelly movie, and the indie drama All Good Things. He’s an artist always looking to change it up with varying material and specific aesthetic choices, while always stressing smart control with imagery and a disciplined sense of camera placement.

Donnie Darko announced the arrival of the challenging filmmaker Richard Kelly, and the film became a calling card for the director, and for a generation of high school and college kids looking for something offbeat and unique. A big reason for the film’s overall level of success is the dreamy visual style that Poster brought to the project. Shot in 2.35:1 widescreen and frequently emphasizing the middle of the frame, the film has an ominous tone all throughout, with much of the story set at night, while Poster’s camera glides through one surreal cinematic moment after another, using slow-motion in a perfect fashion, heightening the emotional moments with force and purpose. Another Poster/Kelly collaboration is Southland Tales, the divisive, Dr. Strangelove-esque political and social satire that feels like 10 movies stuffed into one, with an aesthetic style that feels like a smart and logical extension from Donnie Darko, again maximizing the use of the widescreen space, filling the screen with hallucinatory images that wash over you like some sort of wild, psychedelic trip. The saturated colors favored by Poster in this film made the volatile world being presented in the narrative all the more seductive, while the final 30 minutes represent something of a stylistic freak-out on the part of everyone involved, with Poster emphasizing the otherworldly through lens flares, bold nocturnal images, with an exploding zeppelin and a floating ice-cream truck providing him with the opportunity to craft images that feel like nothing you’ve ever seen. And Poster’s work on Ridley Scott’s underappreciated thriller Someone to Watch Over Me is a clinic on how to shoot a neo-noir that never feels overly slavish to other genre entries, always taking cues from the past while imbuing it with a (for the time) slick and sexy visual style that feels oh-so-gloriously late 80’s in retrospect. Shadows, smoke, darkness, moonlight, neon, and all sorts of atmospherics played a big part in Poster’s overall mise-en-scene, and under the firm direction of Scott, Poster was able to craft one of the best looking films of his stellar career.

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