SEASON 2 - EPISODE 211 Eddie Marsan - Actor

In this episode of the Team Deakins Podcast, we speak with actor Eddie Marsan (NO ORDINARY HEIST, BACK TO BLACK, RAY DONOVAN). During our conversation, we discuss Eddie's youth in East London, being discovered by casting in a club at 18, his disciplined approach to his craft, working with a range of directors including Mike Leigh (Season 1, Episode 76), Edgar Wright (Season 2, Episode 169), and Steven Spielberg, playing a countless number of supporting roles, and the shortcomings of filmmakers who fail to give working and lower class characters volition, autonomy, and humanity. Eddie also reflects on acting as "evil" characters, and we discuss the qualities of several of them from throughout his career. Towards the end of the episode, we ask Eddie how younger generations of actors are different compared to the ones who came before, and he encourages young actors to not wait for the system to change and create space for the roles they want to play. Plus, Eddie reveals the type of character he'd love to play but has yet to.

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This episode is sponsored by Aputure

SEASON 2 - EPISODE 210 Ron Howard - Director

In this episode of the Team Deakins Podcast, we speak with director Ron Howard (AVEDON, APOLLO 13, A BEAUTIFUL MIND). Ron has worked professionally in film and television since the age of 4, and he reflects on his life and career throughout the episode, from chewing fake glass with Yul Brenner as a child actor to directing a wide variety of features and documentaries for almost 50 years. A graduate of the Roger Corman movie factory, Ron reveals what he learned about leadership and collaboration while directing GRAND THEFT AUTO, his directorial debut, under Roger's guidance, and we discuss whether any modern equivalent exists for filmmakers today as a proving ground. Ron also shares how he pushed himself early on to always be creating, and we discuss the creation of several of his films and what he aims for in every movie he makes. We later ask what draws him to a potential project, and we discuss his foray into directing documentaries and how it differs from shooting fiction. We worked with Ron on A BEAUTIFUL MIND, and we had a wonderful time catching up with him.

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This episode is sponsored by Aputure ⁠

SEASON 2 - EPISODE 209 Robin Swicord - Writer / Director

In this episode of the Team Deakins Podcast, we speak with writer and director Robin Swicord (WAKEFIELD, WHEN THEY SEE US, PRACTICAL MAGIC). Throughout the episode, Robin is frank about her experience working in the film industry as a woman, and we discuss how she's seen the culture and behaviour within the industry change over the years. Robin wrote the script for the 1994 adaptation of LITTLE WOMEN, and she shares what it took for the studio to finally greenlight the film after 12 years of development. She also reflects on the long development process of BENJAMIN BUTTON, and she reveals what her initial vision for the story was. After years as a writer, Robin was able to direct her first feature, THE JANE AUSTEN BOOK CLUB, and she shares how she cast the film on short notice and how she prepped for it as a first-time director. We later discuss how she shot her second film as a director, WAKEFIELD, in just 18 days, and she reflects on what she brought from her experiences on her first film to the second one.

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This episode is sponsored by Aputure ⁠

SEASON 2 - EPISODE 208 John Lee Hancock - Writer / Director

In this episode of the Team Deakins Podcast, we speak with writer and director John Lee Hancock (THE HIGHWAYMEN, THE ROOKIE, A PERFECT WORLD). John was born and raised in Texas and we learn how he made the transition from practicing law to screenwriting and what he stayed busy with to survive in Los Angeles after moving there. John later reflects on learning filmmaking from Clint Eastwood and Kevin Costner during the production of A PERFECT WORLD (which John wrote), and he reveals how he came up with the idea of the film. We also learn how producer Mark Johnson (Season 2, Episode 97) accidentally set him up to direct his first film, and John reveals some of the benefits of being a writer while also working as a director. John also reflects on the grand-scaled production of THE ALAMO, and we discuss the historical and cultural backdrop of Texas at the time of the events of the movie. Towards the end, John shares some information with us about his next film, and we discuss the economic difficulties of filming within the United States that lead to productions shooting abroad.

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Recommended Viewing: A PERFECT WORLD

SEASON 2 - EPISODE 207 John Carroll Lynch - Actor / Director

In this episode of the Team Deakins Podcast, we speak with actor and director John Carroll Lynch (BALLARD, LUCKY, FARGO). During our conversation, John tells us what originally drew him into acting, and we discuss an actor's function and place in film, television, and the theatre. As an actor, John has been directed by filmmakers ranging from Clint Eastwood to David Fincher to Ethan and Joel Coen (Season 1, Episode 33), and we discuss how he adapts to different methods of working. We later spend much of the episode discussing John's directorial debut, LUCKY, and we learn how he came to direct the film, how he worked with actor Harry Dean Stanton to develop a script based on his own life, and what it was about the film that attracted him to join in the first place. John also reflects on his experience directing the late David Lynch in the film, and we ask him what to expect in his next movie as a director. We worked with John on FARGO, and it was great catching up with him.

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Recommended Viewing: LUCKY

SEASON 2 - EPISODE 206 David Fortune - Writer / Director

In this episode of the Team Deakins Podcast, we speak with writer and director David Fortune, whose feature debut, COLOR BOOK, is now available to stream on Netflix. David grew up in East Atlanta, watching GOODFELLAS on repeat with his siblings, but it wasn't until a screening of BICYCLE THIEVES while studying at Moorehouse that he decided to become a filmmaker. Throughout the episode, we discuss David's winding path from film school to the making of his first feature, and we learn about the different types of fellowships and incubator programs that supported his development as a filmmaker. We also discuss the making of COLOR BOOK, and we learn how David prepared for the film, cast its leads, and built out the crew using mostly local talent from Atlanta. David also shares how much the film changed from the script to the final edit, and he reveals what inspired him to shoot the film in black and white. Plus, at the end, we learn a little about what he plans to explore in his next movie.

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Recommended Viewing: COLOR BOOK

SEASON 2 - EPISODE 205 Charley Gilleran - Rigging Key Grip

In this episode of the Team Deakins Podcast, we speak with rigging key grip Charley Gilleran (A STAR IS BORN, BLADE RUNNER 2049, NO COUNTRY FOR OLD MEN). Charley shares why he got into rigging, what the job entails, and throughout the the episode he shares how he overcame several lighting challenges, ranging from Wallace's office in BLADE RUNNER 2049 to the Pacific Coast Highway in INTOLERABLE CRUELTY. Charley also recalls his first meeting with key grip Mitch Lillian (Season 1, Episode 27) on the streets of New York, and we learn why Charley moved to Los Angeles to continue and grow his career. Charley later reflects on the scheduling benefits of being the rigging grip on a job, and he shares how he preps for and adapts during a production to help the cinematographer execute his or her plan. We also discuss how much rigging has changed with advances in technology, and Charley offers his thoughts on the future of the film business in Los Angeles. We've worked with Charley on numerous films, and we were excited to have him on the podcast.

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Recommended Viewing: HAIL, CAESAR!

SEASON 2 - EPISODE 204 Janice Blackie-Goodine - Set Decorator

In this episode of the Team Deakins Podcast, we speak with set decorator Janice Blackie-Goodine (THE ASSASSINATION OF JESSE JAMES, LONESOME DOVE, UNFORGIVEN). Growing up on farmland in Calgary, Janice's experiences with hard, physical labour and a supportive art teacher led to her specialize in set decoration. During our conversation, we learn how Janice navigated the male-dominated department, and she helps us understand what a set decorator does and how she approaches every job. Later, we reflect on surviving the production of JESSE JAMES together. Janice shares how she, production designer Richard Hoover (Season 1, Episode 142), and producer David Valdes (Season 1, Episode 13) pivoted when they discovered they were prepping the wrong version of the film, and we learn why it's the film she's the most proud of. Janice also shares how she develops relationships with vendors when securing pieces for a set and how she builds the budget, and she reveals why she finally retired from the business. We worked with Janice on JESSE JAMES, and we loved catching up with her.

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If you enjoyed listening to Janice, then we would recommend listening to Dean Goodine (Season 2, Episode 201)—a prop master and Janice's husband.

SEASON 2 - EPISODE 203 John Schwartzman - Cinematographer

In this episode of the Team Deakins Podcast, we speak with cinematographer John Schwartzman (THE HOUSEMAID, THE HIGHWAYMEN, THE ROCK). John has worked on numerous high-budget, highly commercial films throughout his career, and we spend much of the episode discussing his approach to his work on those movies and his process overall. John's father, an entertainment lawyer for the likes of Stanley Kubrick and Hal Ashby, married into the Coppola filmmaking family while John was just a teenager, and we learn how John leveraged this connection and his skills at board games to win letters of recommendation from his uncle Francis Ford Coppola and friend-of-the-family George Lucas. We also discuss how John draws on his upbringing to help actors feel comfortable during a shoot, and he reflects on how he satisfies his creative needs in modern Hollywood. John also shares the pivotal pieces of advice he received from cinematographers such as Conrad Hall and Caleb Deschanel (Season 1, Episode 86) that instilled confidence in him, and we learn how and why he failed out of USC.

SEASON 2 - EPISODE 202 Christina Alexandra Voros - Director / Cinematographer

In this episode of the Team Deakins Podcast, we speak with director and cinematographer Christina Alexandra Voros (DUTTON RANCH, THE MADISON, YELLOWSTONE). A graduate of the NYU film program (Season 1, Episode 104), Christina discovered cinematography and directing while at school, and she walks us through her formative years there. After working her way through documentaries and features, Christina found steady work directing and shooting shows within the Taylor Sheridan universe, and we discuss the unique working conditions of those series and how she approaches doing two jobs at once. She reflects on what she brings to narrative films and series from her time in documentaries, and we discuss the flexibility one has when you're both the director and the cinematographer. We later learn up to five cameras can be rolling at once on a show like THE MADISON and DUTTON RANCH, and Christina helps us understand how you can direct a scene with so much simultaneous coverage.

SEASON 2 - EPISODE 201 Dean Goodine - Prop Master

In this episode of the Team Deakins Podcast, we speak with prop master Dean Goodine (THE ORDER, THE ASSASSINATION OF JESSE JAMES, UNFORGIVEN). From a small lumber town in Canada, Dean almost committed his life to the oil fields of Alberta before turning to film. Throughout the episode, Dean helps us understand what a prop master does for a movie, and, drawing on his extensive experience with firearms safety, we also discuss how he keeps sets safe. While learning what Dean's responsibilities are as a prop master, he shares how he collaborates with the costume department, and we also discuss how he adapts to working with different directors. In addition to film, Dean has also worked in television, and he reflects on dealing with the phenomenon of fandom while working on STARGATE. We also discuss the state of the Canadian film industry, historical and present-day, and Dean reveals how his own research and prep process has stayed the same. We worked with Dean on JESSE JAMES, and we had a great time catching up with him.

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If you enjoyed listening to Dean, you can learn more about him and his career in his book "They Don't Pay Me To Say No: My Life in Film and Television Props"