Sundance 2018: Cinematographer Ashley Connor on Lensing Madeline’s Madline & The Miseducation of Cameron Post

Cinematographer Ashley Connor has had an incredible run since graduating from Ithaca College’s film program. You know your work is special when the New Yorker‘s film critic, the brilliant Richard Brody, singles out your technique in a review.  Connor has already built an impressive relationship with writer/director Josephine Decker, lensing both Butter on the Latch and Thou Wast Mild and Lovely (the film that got Brody’s attention),

How The Commuter DP Replicated a New York Train on a UK Soundstage

When cinematographer Paul Cameron got the call from Spanish director Jaume Collet-Serra to film The Commuter with Liam Neesom, the Los Angeles-based director of photography faced a daunting question: How do you spend an hour of screen time in the cramped confines of a train and make it look exciting? The answer came to Cameron in the middle of the night, he says. “I envisioned this rig, drew it out and sent it to pre production saying ‘Here’s what I think we should do.”

Sundance 2018: Burden Cinematographer on Lensing a Timely Look at Racism in America

Australian cinematographer Jeremy Rouse moved his wife and two children to a small town in rural Georgia in order to join director Andrew Heckler’s debut drama Burden. The film, based on an astonishing true story, is a part of this year’s Sundance Film Festival’s U.S. Dramatic Competition, and is one of the most timely films screening here—in a year in which many of the entries deal with, either directly or indirectly,

How a Scandal Director Pulled off the Most Explosive Episode of the Final Season

When Scandal first aired in 2012, it joined Grey’s Anatomy as must-see TV from prolific hit maker Shonda Rhimes, one of the most powerful and consistently excellent show creators in the business. Two years later, How to Get Away With Murder aired and ABC’s Thank God It’s Thursday lineup was born. Now in it’s final year, Scandal is going out with a bang. A crossover event with Murder was announced yesterday as stars Kerry Washington and Viola Davis swapped Instagram posts.

Wonder Woman‘s Cinematographer on Capturing the Dynamic Essence of Diana Prince

*We’re sharing some of our favorite interviews of the year this week in our ‘Best of 2017’ roundup.

Wonder Woman was exactly who we needed, exactly when we needed her, and she reframed the landscape among a crowded superhero genre. Director Patty Jenkins and her team brought to life a leading character who could feel love, fury, compassion and power in equal parts. Diana Prince and Steve Trevor’s relationship was a romance of equals (well,

Cinematographer Dan Laustsen on The Shape of Water‘s Fluid Fable

*We’re sharing some of our favorite interviews of the year this week in our ‘Best of 2017’ roundup.

Danish cinematographer Dan Laustsen worked alongside Guillermo del Toro on and off for two decades, so when it came time to shoot The Shape of Water, he shared the director’s penchant for precision. Lush, lyrical and rich in metaphor, the film pays homage to Universal Pictures’ 1940’s-era monster as it follows Sally Hawkins’

Get Out‘s Cinematographer Reveals the Methods Behind Jordan Peele’s Brilliant Madness

*We’re sharing some of our favorite interviews of the year this week in our ‘Best of 2017’ roundup.

From the moment the first trailer for Get Out dropped, we knew this was going to be something special. We were beyond excited to see comedy genius Jordan Peele (Key & Peele) take on a horror movie and the final product exceeded all our hopes. Get Out travels from poking fun at the insecurities of race relations in America to dramatizing the terror of racism in a way that has critics becoming philosophers as they try to unpack Peele’s genius for tackling sensitive subjects with humor,

The Handmaid’s Tale DP on Using Old Lenses, Vermeer and Drones to Conjure Dystopia

*We’re sharing some of our favorite interviews of the year this week in our ‘Best of 2017’ roundup.

Liverpool-born cinematographer Colin Watkinson quit his job as a surveyor to work as an entry-level “runner” on a British soundstage, rose through the ranks to shoot Tarsem Singh’s The Fall in 2006, and on the strength of that film’s universally hailed visuals, became one of Los Angeles’ most prolific television commercial DPs.

Cinematographer Sam Levy’s Shot List Pictured Lady Bird a Year in Advance

In the beginning, there was the shot list. When Greta Gerwig organized her directorial debut, she left nothing to chance. A full year before production began on her coming-of-age story Lady Bird, the actress-turned-filmmaker sat down in New York with director of photography Sam Levy and together they planned out every shot of the movie. Levy, who got to know Gerwig when they worked on Frances Ha and Mistress America,

Wonder Woman‘s Cinematographer on Capturing the Dynamic Essence of Diana Prince

Wonder Woman was exactly who we needed, exactly when we needed her, and she reframed the landscape among a crowded superhero genre. Director Patty Jenkins and her team brought to life a leading character who could feel love, fury, compassion and power in equal parts. Diana Prince and Steve Trevor’s relationship was a romance of equals (well, sort of—Diana was willing to treat him as an equal) that was charming, tender, passionate and heartbreaking.

Cinematographer Philippe Le Sourd on Creating The Beguiled‘s Elegant Terror

Earlier this year, Sofia Coppola premiered her version of The Beguiled, an atmospheric Southern drama based on the 1966 novel of the same name by Thomas P. Cullinan. Set in a remote Virginia girls’ school during the Civil War, the story depicts the ill-starred arrival of a wounded Union solder, John McBurney (Colin Farrell), whose manipulative presence is subtly pernicious, until descending into quiet chaos. Martha Farnsworth (Nicole Kidman) icily, elegantly steers her remaining students (among them,

Cinematographer Dan Laustsen on The Shape of Water‘s Fluid Fable

Danish cinematographer Dan Laustsen worked alongside Guillermo del Toro on and off for two decades, so when it came time to shoot The Shape of Water, he shared the director’s penchant for precision. Lush, lyrical and rich in metaphor, the film pays homage to Universal Pictures’ 1940’s-era monster as it follows Sally Hawkins’ mute cleaning lady, who eventually falls in love with a creature from a South American lagoon (Doug Jones) held captive in a Cold War laboratory by a brutal bureaucrat (Michael Shannon). 

How The Ritual‘s Cinematographer Immerses You in Fear

In The Ritual, a group of friends lose one of their own in a robbery gone bad, but that’s just the beginning of the horrors in store. The atmospheric thriller pulls you deeper into the woods where they encounter sinister things they can’t explain that begin to tear their bond apart. Once they begin to turn on one another, none of them are safe. Cinematographer Andrew Shulkind’s filming style immerses you in the terror in a unique way.

Cinematographer Erik Messerschmidt on Shooting David Fincher’s Serial Killer Series Mindhunter

David Fincher does not like the color red. Cinematographer Erik Messerschmidt knows this because he shot much of the new Netflix series Mindhunter, executive produced and partially directed by the famously meticulous master of suspense. “Fincher and I both have an aversion to magenta so with Mindhunter we always erred on the side of green/yellow in our color choices,” says Messerschmidt, who met Fincher on the set of his 2014 thriller Gone Girl.

Happy Death Day Cinematographer on Resurrecting the Teen Slasher Genre

There’s nothing quite as horrifying as waking up in a strange dorm room after a night out in college. Except maybe being murdered in your sorority house and reliving your death over again until you identify your masked killer. Such is life for Tree Gelbman (Jessica Rothe) in the most playful slasher film of the year, Happy Death Day. Cinematographer Toby Oliver set the tone for the coed killer movie where the scares are satisfyingly spooky.

How Wonderstruck DP Edward Lachman Channeled The French Connection for Kids Adventure

Director Todd Haynes’ longtime cinematographer Edward Lachman renders contrasting visions of New York City in their latest collaboration Wonderstruck (opening Friday.) Based on Brian Selznick’s children’s book, the story follows two kids, separated by fifty years, who run away to Manhattan in search of a missing parent and wind up forging an unexpected bond. The twist: one story’s shot in black and white as an homage to the silent movie era, while the parallel tale draws on The French Connection as inspiration for its hyper-colorful street scenes.

Westworld‘s Emmy-Nominated Cinematographer on the Park’s Sinister Secrets

HBO’s Westworld hypnotized viewers this year. The titular park was a literal tourist trap, offering the well-heeled the opportunity to live out any fantasy without consequence, until the hosts get other ideas. Inspired by Michael Crichton’s 1973 film, the reboot was a hit featuring the clean, calm lines of the welcome center contrasted with the gritty Wild West themed park. Cinematographer Paul Cameron (Pirates of the Caribbean: Dead Men Tell No Tales) disrupted the serene pretense upheld by the park’s producers to deliver a sense of foreboding about the sinister secrets within.

DP Captures Ugly Behavior in Sun-Dappled New Series Riviera

Boasting a resume that includes Peaky Blinders, BAFTA Award-winning London Spies and gritty indie High-Rise, British cinematographer Laurie Rose shoots most of his projects in overcast England. But not long after he spent six weeks in a dank British warehouse working on claustrophobic shoot-em-up Free Fire, Rose spent last summer in the sunny south of France filming the first two episodes of Riviera.

Annabelle: Creation Cinematographer Maxime Alexandre on What Gave him Goosebumps

Films from The Conjuring universe have been scaring and thrilling audiences in equal measure for years. The fourth movie, Annabelle: Creation, hits theater today, and is sure to deliver more of the high-quality horror we have come to expect from the series. Already raking in praise and positive reviews, Annabelle: Creation undoubtedly owes part of its success to the vision of cinematographer Maxime Alexandre. Having worked on an array of terrifying films,

The Handmaid’s Tale DP on Using Old Lenses, Vermeer and Drones to Conjure Dystopia

Liverpool-born cinematographer Colin Watkinson quit his job as a surveyor to work as an entry-level “runner” on a British soundstage, rose through the ranks to shoot Tarsem Singh’s The Fall in 2006, and on the strength of that film’s universally hailed visuals, became one of Los Angeles’ most prolific television commercial DPs. By the time cinematographer-turned director Reed Moreno invited him to shoot The Handmaid’s Tale in Toronto,