SEASON 2 - EPISODE 130 - Peter Kurland - Production Sound Mixer

Production sound mixer Peter Kurland (THE BALLAD OF BUSTER SCRUGGS, NO COUNTRY FOR OLD MEN, WALK THE LINE) joins us in this episode of the Team Deakins Podcast. We’ve worked with Peter many times over the years, and we had a wonderful time catching up with him. In the beginning of the episode, Peter shares the two versions of his origin story, both of which begin in Nashville, and we learn how he was repeatedly enlisted in roles in the sound department without any training. A former boom op, Peter also fills us in on the subtle differences between boom mics and radio mics, and we learn how Peter communicates potential sound problems to a director and to production at large. Peter also shares how he best fulfills requests from post-production, and we discuss how we try to capture what the director wants, even when they don’t want to think about it. And, at the end, Peter shares his thoughts on recent changes in the film industry.

-

This episode is sponsored by Aputure

SEASON 2 - EPISODE 129 - Brad Ingelsby - Writer

Writer Brad Ingelsby (MARE OF EASTTOWN, THE WAY BACK, OUT OF THE FURNACE) joins us in this episode of the Team Deakins Podcast. A self-professed overwriter, Brad shares his personal approach to screenwriting, and we break down the parts of a story we like the most as viewers and as filmmakers. We later discuss the ever-shifting nature of a script from prep through post-production, and Brad shares how he thinks about when to reveal pieces of information that lead to the most effective telling of a story. We also ask Brad about THE DYNAMITER, an early film in his career, and he shares how the film evolved from an AFI thesis film into a full feature. We also reflect on the role of research in screenwriting, from spending time in a particular community to convincing its members to tell you what’s wrong with your script, and Brad shares how he tries to integrate resources from a specific area into the actual shoot of a project. Brad also compares writing for film against writing for television, and, at the end, we ask Brad what advice he would give to a young screenwriter today.

-

This episode is sponsored by Aputure

SEASON 2 - EPISODE 128 - Deadliest Catch - Arom Starr-Paul & David Reichert

In this special episode of the Team Deakins Podcast, we’re talking about one of our favourite shows: DEADLIEST CATCH. Executive producer Arom Starr-Paul and cinematographer David Reichert join us for a lengthy discussion and generously answer our many questions about how the show actually gets made. We first learn how both men made their way to the Bering Sea as camera operators and worked their way into their current roles after many years. Later, Arom shares how the show’s storytelling evolves over the course of a season and how the crew identifies which storylines to follow out at sea. David also highlights the day-to-day responsibilities of the cameramen and women on the boats and reveals how he coordinates the look of the show across the huge fleet of crabbing boats featured in every season, and we learn how they sift through 40,000 hours of footage down to just 20. Roger also compares his fishing strategies with those in the fleet from the show, and we reflect on the ecological changes in the oceans and in the practices of fisheries.

-

This episode is sponsored by Aputure

SEASON 2 - EPISODE 127 - Adrien Brody - Actor

Actor Adrien Brody (THE BRUTALIST, SUMMER OF SAM, THE PIANIST) joins us in this episode of the Team Deakins Podcast. We worked with Adrien on THE VILLAGE, and it was great catching up with him. Early in our sprawling conversation about his career and his craft, we discuss what he learned as a young actor working with directors of great caliber—from Juan José Campanella (Season 2, Episode 80) to Spike Lee and Ken Loach—that led to his lauded performance in THE PIANIST. Later in our discussion of THE BRUTALIST, Adrien reflects on his collaboration with director Brady Corbet and shares what his first concern as a performer was when told the film would be shot on loud VistaVision cameras, and Adrien reveals the personal family history that informed his moving performance and shares how he and his fellow filmmakers pulled the film off with relatively limited resources. Towards the end our conversation, we also consider actors’ and cinematographers’ reliance on others to reach creative fulfillment, and we ask Adrien if he thinks it’s possible to learn how to act. Plus, Adrien explains how to jury-rig a polaroid camera battery into a makeshift hand warmer.

-

This episode is sponsored by Aputure

SEASON 2 - EPISODE 126 - Tye Sheridan - Actor

In this episode of the Team Deakins Podcast, we speak with actor Tye Sheridan (THE ORDER, READY PLAYER ONE, MUD). Coming out of rural east Texas, Tye reflects on getting his start as a child actor on THE TREE OF LIFE and MUD, and we discuss the type of personality it takes to deal with the transient life of a filmmaker. Tye is also the co-founder of Wonder Dynamics, which currently offers an AI-based performance capture solution for filmmakers without a large VFX budget, and we discuss the company’s origins and how the technology actually works. Tye later recounts the casting process for READY PLAYER ONE that ended with him nerding out with director Steven Spielberg over E.T., and we discuss the working conditions of independent films that have made them so attractive Tye as an actor. We also discuss Tye’s experience working on THE ORDER, and we end the episode reflecting on the evolution of the industry in the digital age. 

-

This episode is sponsored by Aputure

SEASON 2 - EPISODE 125 - Deborah Scott - Costume Designer

Costume designer Deborah Scott (AVATAR, TITANIC, DEFENDING YOUR LIFE) joins us in this episode of the Team Deakins Podcast. During our wide-ranging conversation, we learn how a childhood diet of drive-in theatre westerns developed her appetite for cinematic storytelling, and we discuss Deborah’s long career outfitting characters representing extraterrestrial aliens, the denizens of the afterlife, and everyday people from our past, present, and potential futures. Deborah also reflects on her experience embodying the characters of E.T. THE EXTRATERRESTRIAL to develop the children’s costumes for the film, and she details the level of rigor with which she preps before presenting a director with ideas after being brought aboard a project. Deborah also contrasts the difficulty inherent in the open-ended nature of designing for sci-fi films with the specificity inherent in period films, and she highlights the invaluable contributions from the entire costume department that facilitate the realization of all that clothing on screen. Plus, towards the end, Deborah shares how she juggles being a parent and being a filmmaker.

-

This episode is sponsored by Aputure

SEASON 2 - EPISODE 124 - Quyen Tran - Cinematographer

On this episode of the Team Deakins Podcast, we speak with cinematographer Quyen Tran (AHSOKA, MAID, PALM SPRINGS). We start the episode with Quyen’s harrowing recollection of her experience in New York City on 9/11, and she reflects on how the event steered her life towards filmmaking. While studying film at UCLA, Quyen fell into documentary filmmaking, and she shares how she’s since branched into directing television and miniseries. She reveals who gave her the initial push to even try directing, and she reveals what she enjoys about it compared to cinematography. We also discuss the films and shows that influenced Quyen early in life, and we share our appreciation for the universal visual storytelling in THE BENNY HILL SHOW and I LOVE LUCY. We later learn how Quyen used lighting to lean into the darker moments of the sci-fi comedy PALM SPRINGS, and she shares how she feels her experiences as a director has made her a better cinematographer. Plus, Quyen reveals what we included in the “Roger Deakins lighting kit” distributed to her class while we were the cinematographer-in-residence at UCLA years ago.

-

This episode is sponsored by Aputure

SEASON 2 - EPISODE 123 - Andrew Dunn - Cinematographer

Cinematographer Andrew Dunn (GOSFORD PARK, THE CRUCIBLE, THREADS) joins us on this episode of the Team Deakins Podcast. Andrew has worked on a wide range of films throughout his career, and we discuss the many different problems he was faced with and the lessons he learned overcoming them. Among these stories, we focus on Andrew’s time shooting THE CRUCIBLE, and we learn how the cast and crew worked through the challenges of shooting the renowned story on-location. Andrew later reflects on shooting DOWNTON ABBEY: A NEW ERA and honouring the hit show on the big screen, and he shares why he doesn’t mind making movie stars look like movie stars. We also learn how Andrew initially broke into the industry through editing at the BBC, and we discuss the value of knowing how to construct a scene in relation to what precedes and follows it. Later, Andrew regales us with tales of his days shooting docs for the BBC, which acted as a training ground for upcoming talent at the time, and, at the end, he shares how he’s seen filmmaking change from those early years to today.

-

This episode is sponsored by Aputure

SEASON 2 - EPISODE 122 - Jo Plaete - VFX Supervisor

VFX supervisor Jo Plaete (HERE; ALIEN: ROMULUS; FURIOSA) joins us on this episode of the Team Deakins Podcast. Jo is also the Chief Innovation Officer at Metaphysic, and we spend much of the episode discussing the company’s AI technology and its use in several recently-released films. Having come up through the VFX world, Jo compares the techniques of more traditional VFX artists to what he does today using artificial intelligence, and he likens the recently spotlighted technology to “proceduralism on steroids”. We get a deep dive into the tech behind the de-aging AI used on HERE, and Jo shares how the technology integrated itself into the production process to let the crew see what the final effect would look like in real-time. Jo also reflects on some of the troubleshooting that occurred between departments during production, and we discuss whether the filmmakers were working around the AI or if the AI was working with them. Jo also shares how data is fed into the technology to build out the model’s understanding of a person’s face, and Jo shares what they do with all that data once the show wraps.

-

This episode is sponsored by Aputure

SEASON 2 - EPISODE 121 - Mohammad Rasoulof - Director

On this episode of the Team Deakins Podcast, we’re joined by director Mohammad Rasoulof (THE SEED OF THE SACRED FIG, THERE IS NO EVIL, A MAN OF INTEGRITY). Mohammad’s films have come at great personal cost, both to himself and his fellow filmmakers, and as deep admirers of his work, we were thrilled to speak with him. After learning how Mohammad found his way into filmmaking, we discuss how he outmaneuvered the Iranian regime’s censorship apparatus to covertly make many of his films, and Mohammad reflects on his pivot from using metaphorical cinematic language to using a far more direct language to create images of modern Iranian society. Frequently imprisoned for his films’ clear-sightedness of his country, Mohammad shares how he was forced to repeatedly watch his 2020 feature, THERE IS NO EVIL, with his prison guards, and we discuss the pedestrian origins of the four-part film about the country’s death penalty. We also learn that Mohammad’s films have never been screened publicly in Iran, and he reflects on his films acting as “cinematic boomerangs” that play internationally and find their way back to his Iranian audience through the country’s black market. We later discuss the symbolic imagery present in the beginning and end of THE SEED OF THE SACRED FIG, and we learn his reasoning as to why he finally fled from Iran for good after the film’s completion.

Translation conducted by Iante Roach.

-

Recommended Viewing: Every Mohammad Rasoulof film

-

This episode is sponsored by Aputure

SEASON 2 - EPISODE 120 - Pinar Demirdag - Co-Founder & CEO of Cuebric

In this episode of the Team Deakins Podcast, we wade into the world of artificial intelligence through a conversation with Pinar Demirdag, the co-founder and CEO of Cuberic, a generative AI platform. What follows is a lively discussion about the future possibilities of AI in filmmaking, its current applications in cinema today, and all the ethical and practical questions these changes raise. Pinar also explains what it is that Cuebric actually does, and we discuss the potential ramifications of the proliferation of generative AI tools to filmmakers around the world. Throughout the episode, we reflect on being products of the times we live in and lived through, and Pinar shares to what end she sees artificial intelligence developing. We also reflect on the pace of innovation in the seemingly fast-growing field, and, at the end, we learn which Stanley Kubrick film ultimately inspired the name of her company.

-

This episode is sponsored by Aputure