I like what Cheech said recently: “We both got to tell our stories, and nobody got killed.” There are always two sides to every story. The fact that they were both willing to sit down and talk individually gave me greater context. I always knew that I wanted them together, but first, I needed to hear what they had to say alone.
I like what Cheech said recently: “We both got to tell our stories, and nobody got killed.” There are always two sides to every story. The fact that they were both willing to sit down and talk individually gave me greater context. I always knew that I wanted them together, but first, I needed to hear what they had to say alone.
This season has more stunts, but it is still a very character-based show. This is extremely special for me because what I appreciate most as a cinematographer is creating a connection to the characters that viewers can understand. So they can live together with the characters and the journey they’re going through.
The scene I’m the most proud of is called ‘Synchronicity’. We wanted to do something universal, so we imagined the same choreography for the dancers and framed it exactly the same. So when you are at the show, you will see all four dancers in different landscapes doing the same thing on separate screens, producing a crazy effect.
This was an interesting project because I think at first we were pushing it very dark, and Brian liked that, and everyone on the team did, I think, in principle… when they started trying it in the edit, I think it had lost some of the sense of fun. We know they’ve all died, so it was sort of like because we were going so dark with music, it was overdoing that point. We then had some time to go back and keep a lot of what I’d done, but then also try some more playful elements, which is where I brought in some of the Aztec instruments, like the ocarina and shakers, and played with it a little bit more and having more fun with it.
Casting was challenging because you wanted to find the chemistry between the boys. It was terrific when they met, and now they love each other and are everywhere all the time, just like actual brothers. We got this gift because there weren’t a lot of famous Pakistani, Indian, or South Asian actors, so we had to make discoveries, which is rare. Most studios want celebrities because they have a better chance of getting the show recognized. That wasn’t an opportunity for us, so we got to discover actors. We have Poorno, who’s played a mother and best friend a lot, plays this badass mob boss in a leather suit. It felt exciting. She is one of the best actors I’ve ever worked with.
Generationally, there couldn’t be a better show for me to work on. I was precisely the age of the Yellowjackets when they crashed in my senior year of high school. All of the things that they love are things that I grew up with and loved. I was a product of the eighties and movies like The Goonies.
This season has more stunts, but it is still a very character-based show. This is extremely special for me because what I appreciate most as a cinematographer is creating a connection to the characters that viewers can understand. So they can live together with the characters and the journey they’re going through.
This was an interesting project because I think at first we were pushing it very dark, and Brian liked that, and everyone on the team did, I think, in principle… when they started trying it in the edit, I think it had lost some of the sense of fun. We know they’ve all died, so it was sort of like because we were going so dark with music, it was overdoing that point. We then had some time to go back and keep a lot of what I’d done, but then also try some more playful elements, which is where I brought in some of the Aztec instruments, like the ocarina and shakers, and played with it a little bit more and having more fun with it.
The Cannes Film Festival made its initial lineup announcement today, and it is full of the kinds of films that…
He gave a fantastic performance as Jim Morrison in Oliver Stone’s The Doors (1991). This is the role he will probably be best remembered for, as he completely inhabited the real-life singer. He relentlessly prepared, memorizing all the lyrics to the songs and dressing like Morrison for a year, even wearing black contact lenses to mimic being perpetually inebriated. As Morrison and in all of his performances, he had a level of unpredictability that made him compelling to watch.
On Thursday, April 17, PMG will celebrate the highly anticipated launch of PROP CULTURE magazine, the Guild’s flagship publication, offering an exclusive insider perspective into the making of props for film and television. The launch event promises to bring together industry professionals, creatives and tastemakers to commemorate this exciting milestone.
After a thoughtful and thorough process to identify the future location of the Sundance Film Festival, today the nonprofit Sundance Institute’s Board of Trustees is proud to announce that Boulder, Colorado, will become the Festival’s home beginning in 2027. Boulder offers small-town charm with an engaged community, distinctive natural beauty, and a vibrant arts scene, making it the ideal location for the Festival to grow.
Lucasfilm’s Emmy®-nominated thriller “Andor,” returns for its long-awaited conclusion on April 22. The second season takes place as the horizon…
The Art Directors Guild (ADG, IATSE Local 800) Film Society proudly announces its 2025 Screening Series, showcasing the exceptional work of acclaimed production designers and set decorators through curated film screenings. Each screening will be followed by exclusive interviews or live panel discussions featuring industry legends such as production designers Eugenio Caballero, Mark Friedberg, Sarah Greenwood, Kristi Zea, and set decorator Katie Spencer.
