“I’m Not Into Embracing the Digital Look”: DP Ben Fordesman on Love Lies Bleeding

After setting her directorial debut Saint Maud in a fading English seaside town, London-born filmmaker Rose Glass turns her gaze toward the American southwest for the neo-noir follow-up Love Lies Bleeding. Set in 1989 and shot in New Mexico by Maud cinematographer Ben Fordesman, the film follows the violent repercussions when a nomadic bodybuilder (Katy O’Brian) falls for a small-town gym manager (Kristen Stewart) with a family full of criminals (including gun-running dad Ed Harris). With the A24 movie out today on VOD, Blu-ray and UHD following its theatrical run, Fordesman spoke to Filmmaker about emulating film on digital, pick-ups…  Read more

“Obviously, We Couldn’t Get Three Sandworms for That Day”: DP Greig Fraser on Dune: Part Two

Dune: Part Two picks up directly following the events of its predecessor, with young Paul Atreides (Timothée Chalamet) taken in by the Fremen after being marooned in the desert of Arrakis. However, cinematographer Greig Fraser was not content to merely continue where he left off. After winning an Oscar for the first film, Fraser shuffled his tool bag by adding the Alexa 65, an assortment of colorful new glass and an infrared sequence set in a gladiator arena on Giedi Prime. It’s not surprising considering Fraser’s history of experimentation, which includes pioneering virtual production work on The Mandalorian and reintroducing…  Read more

“Dolly and Slider Inside, Steadicam Outside”: DP Mac Fisken on The Last Stop in Yuma County

In The Last Stop in Yuma County, an empty pump at an isolated desert gas station strands a collection of characters (including a pair of bank robbers and knife salesman Jim Cummings) at the adjoining roadside diner. Written around the standing sets available at Four Aces Movie Ranch in Palmdale, California, the feature debut from director Francis Galluppi was partially funded by the sale of producer James Claeys’ house. That provided enough budget for a 20-day shooting schedule, a cast of familiar genre faces (including Richard Brake, Gene Jones and Barbara Crampton), a few epic needle drops and one talented…  Read more

“Congratulations, That Shot was Terrible”: DP Matthew Temple on Late Night with the Devil

I typically have two problems with found footage horror movies. First, it’s often hard to believe the characters wouldn’t simply drop their cameras once the body count begins. Just as the haunted house movie must present a sufficiently logical reason for the inhabitants to remain once the voices start whispering “get out,” the found footage horror movie must posit an acceptable rationale for why the cameras keep rolling. Second, the subgenre’s veneer of reality often means some of filmmaking’s most effective tools—score, editing, composition—are sacrificed on the altar of verisimilitude. The premise of Late Night with the Devil alleviates both…  Read more

Shooting in ILM’s New StageCraft Volume Virtual Production Facility: DP Pierre Gill on Percy Jackson and the Olympians

In the first season of Disney+’s Percy Jackson and the Olympians, the titular teenaged demigod and his compatriots travel across the country, with stops from St. Louis to Las Vegas, on a mission to prevent war among the Greek gods. However, cinematographer Pierre Gill and his crew never left the vicinity of Vancouver. Percy Jackson is the first show to use Industrial Light & Magic’s new 20,000-square-foot StageCraft Volume in the Canadian city. Gill estimates 30 percent of his episodes were shot in the virtual production environment on its 95-foot LED wall. With the show now streaming in its entirety…  Read more

“A Frankenstein Set of Lenses”: DP Matthew Libatique on Maestro

25 years ago, Pi—a $70,000 indie about an obsessive mathematician shot on 16mm black and white reversal stock—put cinematographer Matthew Libatique on the map. In the intervening quarter century, Libatique has earned three Academy Award nominations and shot multiple films for Spike Lee, Jon Favreau, Joel Schumacher and Darren Aronofsky. He helped inaugurate the Marvel Cinematic Universe with Iron Man and dipped into the D.C. sandbox with Birds of Prey. He’s shot horror movies, westerns, sci-fi flicks, war dramas, biopics and whatever genre mother! falls into. But what Matthew Libatique hasn’t done since Pi is shoot a film in black…  Read more

112 Days in Iceland: DP Florian Hoffmeister on True Detective: Night Country

The diversity of cinematographer Florian Hoffmeister’s output makes it difficult to typecast him. The German DP won an Emmy for his work on a BBC version of Great Expectations and followed with the Rowan Atkinson spy spoof Johnny English Strikes Again. Then, in succession, he lensed the Scott Cooper horror flick Antlers, the Apple prestige drama Pachinko and Todd Field’s Tár, picking up an Oscar nomination for the latter. But with True Detective: Night Country, Hoffmeister returns to a previous specialty–unsettling subzero horror. Hoffmeister’s work on AMC’s The Terror followed an ill-fated 19th century artic expedition. He’s back to frigid…  Read more

“I’ve Never Had a Director Give Me a GIF as a Reference Before”: DP Cristina Dunlap on American Fiction

Music videos have been good to Cristina Dunlap. As a photography-obsessed high schooler, a chance meeting landed the L.A. native a gig shooting stills on a music video. It happened to be for Death Cab for Cutie, leading to a run of jobs with influential directors like Hiro Murai and Ace Norton. After working her way up to the role of cinematographer, a Coldplay video collaboration with Dakota Johnson led to Dunlap shooting a pair of features starring the actress, Am I OK? and Cha Cha Real Smooth, both of which premiered at the 2022 Sundance Film Festival. A music…  Read more

“David Initially Said, ‘What if We Do the Whole Movie Handheld?'”: DP Erik Messerschmidt on The Killer

The Killer begins with an assassin (Michael Fassbender) in a half-completed WeWork office awaiting the arrival of his latest target. As he waits, he details his vocational mantras for the audience in voiceover: stick to the plan. Don’t improvise. Never yield an advantage. Forbid empathy. Fassbender proceeds to miss his shot and spends the rest of the film breaking each and every one of those tenets in the chaotic aftermath. Many of the pieces written about the film have pointed out perceived similarities between the film’s methodical, detail-oriented titular character and the perfectionist reputation of its director, David Fincher. However,…  Read more

“If I Had Been Working in the 1970s [But With Today’s Technology], I Would Have Used Digital, I Would Have Used LED Technology”: The Holdovers Cinematographer Eigil Bryld

In The Holdovers, a professor, a student and a grief-stricken cook are stranded together at a New England boarding school over the holidays. The story takes place in the early 1970s, an era whose films are beloved by both Holdovers director Alexander Payne and cinematographer Eigil Bryld. However, they took opposing philosophical perspectives in imbuing their movie with the spirit of that epoch. Though he looked at the work of Hal Ashby for inspiration – particularly The Landlord and The Last Detail – rather than attempt to replicate it, Payne’s approach found him imaging what kind of film he himself…  Read more