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. 

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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.

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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.

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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.

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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.

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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.

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Recommended Viewing: Every Mohammad Rasoulof film

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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.

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This episode is sponsored by Aputure

SEASON 2 - EPISODE 119 - Edu Grau - Cinematographer

Cinematographer Edu Grau (THE ROOM NEXT DOOR, PASSING, A SINGLE MAN) joins us in this episode of the Team Deakins Podcast. After an encouraging compliment from his art teacher, Edu attended a then-newly established film school in his hometown of Barcelona where he learned to foster his passion for filmmaking. Edu shares with us how, after a six month drought from work, he was selected by director Tom Ford to shoot A SINGLE MAN, and we reflect on working with actor/directors pulling double-duty. We later discuss Edu’s involvement on PASSING and the joy of shooting in black-and-white, and we ruminate on the nature of prep and the nagging anxiety of riding around in the van. Towards the end of the conversation, we later learn how Edu approached his work on THE ROOM NEXT DOOR and eschewed naturalism to help realize director Pedro Almodóvar’s unique vision.

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This episode is sponsored by Aputure

SEASON 2 - EPISODE 118 - Mark Bridges - Costume Designer

In his podcast debut, costume designer Mark Bridges (THE FABELMANS, JOKER, PHANTOM THREAD) speaks with us on this episode of the Team Deakins Podcast. Mark was once a costume assistant on BARTON FINK and HUDSUCKER PROXY alongside Mary Zophres (Season 1, Episode 80), and he shares how he made the jump to being a costume designer in his own right after meeting director Paul Thomas Anderson to work on his debut feature, HARD EIGHT. Throughout the episode, we discuss Mark’s approach to his work, and he shares how he builds out a character’s closet through diligent research and frequent testing. We also discuss how Mark communicates with the hair and makeup department, and he describes the types of conversations he has with the actors embodying a film’s characters. Later, Mark discusses how he designs costumes in black-and-white, and he reflects on the extra legwork done to get ahead of any potential problems while shooting on location. And, while sharing advice at the end of the episode, Mark cautions young designers against making it about the money.

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This episode is sponsored by Aputure

SEASON 2 - EPISODE 117 - Rachel Clark - Cinematographer

Cinematographer Rachel Clark (EDGE OF SUMMER, QUEENIE, I AM RUTH) joins us on this episode of the Team Deakins Podcast. Hailing from northeast England, Rachel, far-removed from the film industry, nonetheless found her way into the camera department and has since worked her way up the grades to helm the department herself. We discuss the challenges and obstacles in her journey to becoming a cinematographer, and she reflects on the stubbornness that pushed her through them all. We also discuss how her approach to working as a DP has evolved, and she reflects on her experiences shooting I AM RUTH within the bounds of director Dominic Savage’s unique vision. Rachel also shares her experience shooting EDGE OF SUMMER with children and her yearning to film as much as possible on location in a nearby tin mine. Plus, we learn about Rachel’s fortuitous early-career run-in with cinematographer Robbie Ryan dancing in a field at a music festival.

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This episode is sponsored by Aputure

SEASON 2 - EPISODE 116 - Melinda Sue Gordon - Still Photographer

On this episode of the Team Deakins Podcast, still photographer Melinda Sue Gordon (OPPENHEIMER, KILLERS OF THE FLOWER MOON, LICORICE PIZZA) joins us to discuss the ins and outs of on-set still photography. We learn how Melinda Sue fulfills studio requests while navigating the many personalities of a cast and crew just trying to make the day, and she shares her approach to capturing images that faithfully represent the characters and tone of a film’s story. We later learn why Melinda Sue pivoted to still photography after studying cinematography at AFI, and she reveals how she cold-called her way onto RAISING ARIZONA early in her career. We also discuss how she successfully adapted to the advent of digital photography, and we learn how most of her images are only ever used internally at a studio to develop a marketing campaign—and (in a major scoop) Melinda Sue reveals which widely-distributed still from KILLERS OF THE FLOWER MOON was actually a composite. At the end of the conversation, Melinda Sue shares her advice to aspiring on-set still photographers listening in, and we reflect on the pleasure of staring at one static photograph amidst today’s glut of imagery.

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This episode is sponsored by Aputure