On this episode of the Team Deakins Episode, casting director Ellen Lewis (KILLERS OF THE FLOWER MOON, THE DEVIL WEARS PRADA, GOODFELLAS) joins us to talk about all things casting—of which we knew very little before speaking with her. A disciple of veteran casting director Juliet Taylor, Ellen shares with us how they were first introduced and what she learned working with her for eight years. Ellen reveals how closely casting works with talent agents to find the right actor for a role and how some casting directors even directly negotiate an actor’s contract. We worked with Ellen on KUNDUN, and she recounts her global odyssey to cast the 14th Dalai Lama across four separate stages of his life. We later discuss setting actors at ease, both on set and in the audition room, and how we do what we can to lift the pressure under which actors must work. Ellen also admits to us just how far she’s willing to travel to go to set. - This episode is sponsored by Fiilex Instagram: @fiilexled - Recommended Viewing: KUNDUN

On this episode of the Team Deakins Podcast, writer and director Rian Johnson (KNIVES OUT, STAR WARS: THE LAST JEDI, LOOPER) speaks with us about his career, and, in a pleasant change of pace, he even asks us a few questions! Rian first shares his childhood memory of attending a screenwriting seminar with his father and how that experience has since informed his craft. We later learn about the father-son story at the heart of LOOPER and reflect on the differences in crew cultures between different countries. We also reminisce over floundering in your 20’s and touch on Rian’s enduring creative partnerships with actor Joseph Gordon-Levitt and cinematographer Steve Yedlin. While discussing THE LAST JEDI, Rian reveals which classic opera inspired the design of the throne room and under what conditions, atypical for effects-heavy filmmaking, enabled Rian and his collaborators to build extensive and grounded sets for its many scenes. Throughout the episode, Rian reflects on his abilities as a filmmaker, and we discuss the beauty of scenes that, despite being irrelevant to the plot, are emotionally correct within a given story. - This episode is sponsored by Fiilex Instagram: @fiilexled - Recommended Viewing: LOOPER

Cinematographer Declan Quinn (HAMILTON, LEAVING LAS VEGAS, MONSOON WEDDING) speaks with Team Deakins on this episode of the podcast. A first generation immigrant from Ireland, Declan first reflects on his youth bouncing between America and his family’s home country. We then ruminate on Declan’s decision to spend part of his early career in Ireland and on the function of pubs as watering holes wherein a young filmmaker could, back when Roger and Declan were starting out at least, find a community with which to celebrate and commiserate over work and life. Later, Declan shares his experiences working with directors Mike Figgis and Neil Jordan and on the myriad of other films he helped bring to life. Towards the end, Declan describes the process of Broadway captures and how he filmed HAMILTON at the height of its popularity with its original cast. - This episode is sponsored by Fiilex Instagram: @fiilexled

On this episode of the Team Deakins Podcast, we sit down with two members from the Dallas Film Commission: Tony Armer, the commissioner, and Andrew Vela, a project specialist. We pepper Tony and Andrew with questions throughout the episode. What does a film commission office actually do? How do offices differ at the state and city levels? How do they help local filmmakers? And who’s responsible for incentives? Andrew and Tony (who is also one of the founders of the Sunscreen Film Festival in St. Petersburg, Florida) also answer our many questions about festivals. Should you go to your local film festival? Is it worth submitting to the bigger ones? And which festivals should you even submit to? In between all our questioning, we also learn how Tony and Andrew came to work at the Dallas Film Commission and of the various responsibilities of their roles within it. - This episode is sponsored by Fiilex Instagram: @fiilexled

Team Deakins speaks with writer and director David Lowery (PETER PAN & WENDY, A GHOST STORY, AIN’T THEM BODIES SAINTS) on this episode of the podcast. David credits his early childhood obsession with STAR WARS (despite having not seeing the films at the time) for his lifelong obsession with filmmaking, and he walks us through his early career working in independent film in Texas. We dive deep into the making of AIN’T THEM BODIES SAINTS and A GHOST STORY, learning how David developed the title for the former and how his collaborators pulled off the Ghost’s costume by utilizing the old-fashioned illusions of cinema for the latter. We also consider the danger of being beguiled by “cool shots” and how a good title can complement the tone of its film. We also touch on David’s favourite topic: film financing! - This episode is sponsored by Fiilex Instagram: @fiilexled - Recommended Viewing: A GHOST STORY, AIN’T THEM BODIES SAINTS

On this episode of the Team Deakins Podcast, editor Kelley Dixon (OBI-WAN KENOBI, THE GOLDFINCH, BREAKING BAD) joins us for a conversation about all things editing. Kelley starts by sharing her experience working in the MGM/UA mailroom and delivering script pages to the editorial department where she quickly found herself helping cut scenes. Kelley later describes learning the potential applications of visual effects if money is no object and how that insight expanded her way of thinking when approaching editorial problems on projects with relatively larger budgets. We discuss how editing can be used to bring the audience into the state-of-mind of a character and how Kelley works with a director to realize their vision in the edit. Throughout the episode, we debate whether or not editing is an invisible art, and we contemplate our favourite note: “Can you just make it better?” - This episode is sponsored by Fiilex Instagram: @fiilexled

Director and cinematographer Ernest Dickerson (BOSCH, JUICE, MALCOLM X) joins us in conversation on this episode of the Team Deakins Podcast. Having been exposed to photography as a young man by his uncle, Ernest first keyed into cinematography after watching David Lean’s OLIVER TWIST and later attended graduate film school at NYU. Ernest reflects on his professional relationship with Spike Lee and reveals how Spike generously delayed pre-production on MALCOM X to allow Ernest enough time to finish post on his directorial debut, JUICE. Finding himself frequently directing his directors, Ernest also shares how he saw his transition into directing as a natural progression of his career. We later discuss the value of doing your homework when brought on to direct television and the different professional expectations that are unique to the medium. At the end, we consider how creation is a patient search and the importance, joys, and benefits of studying film history.

Franklin Leonard, the founder of The Black List, joins us on this episode of the Team Deakins Podcast for a fascinating conversation. Franklin, a Harvard-educated military brat, starts by recounting his many travels across continents and industries before finding his footing as an assistant in the motion picture literary department at CAA. Having transitioned into development, Franklin shares how The Black List was born out of an innate desire to do better in his job as a junior executive at the time. We learn how The Black List has since evolved and how Franklin’s experiences influenced those evolutions to address industry access issues. We later consider what makes a good script, the inherent subjectivity of evaluating art, and how a script appearing on the list can vindicate one’s interest in “weird” material. Franklin stresses how the ultimate goal should not be to get on The Black List but to get your movie made, and he exposes the psyops he executes to avoid leaking which scripts end up on the list. The Black List is an annual list of the most-liked scripts circulating within Hollywood in a given year, and it has served as a valuable industry tool for filmmakers since its inception.

Director Ryan White (GOOD NIGHT OPPY, THE KEEPERS, ASSASSINS) joins us on this episode of the Team Deakins Podcast to discuss his career and the field of documentary filmmaking. Born and raised in Dunwoody, Georgia, Ryan later enrolled in Duke University where he found his calling to direct documentaries after watching Agnès Varda’s THE GLEANERS AND I. After welcoming him on the podcast, Ryan starts off strong by revealing how he’s used previous episodes to study a particular department to help secure a job. He reflects on the state of the industry in which he came up that forced him to begin directing in his mid-20s and laments how today’s industry can delay a young filmmaker from taking their first steps towards starting a career by employing them to assist those already established. We later learn how Ryan prefers to shoot his documentaries as intimately as possible over several years and how he and his producing partner Jessica Hargrave have typically sold their projects to distributors. Throughout our discussion, we reaffirm the value of learning by doing, of believing in your stories and talents when leaving the nest, and of listening to your mother. - This episode is sponsored by Dallas Film Commission Instagram: @dallasfilmcommission - Recommended Viewing: THE KEEPERS, GOOD NIGHT OPPY

Actor, writer, director, and novelist John Sayles (MATEWAN, BROTHER FROM ANOTHER PLANET, LONE STAR) joins Team Deakins on this episode of the podcast for a discussion covering his long career in filmmaking and in fiction writing. A true multi-hyphenate, John first describes his postgraduate journey from working in an Italian sausage factory to enlisting in the Roger Corman film factory. John reflects on his luck having his first three screenplays produced under the legendary filmmaker and on the lessons he learned shooting his self-funded first feature. Working chiefly in independent American cinema, John considers the times and the market in which he came up that facilitated his filmmaking and offers advice for young filmmakers today. Among the many other topics of discussion, we consider the following: how John decides which medium best serves a story, the benefits of cutting in your head during production, and how comfortable an actor may or may not feel working out of an Econo Lodge in West Virginia. - This episode is sponsored by Dallas Film Commission Instagram: @dallasfilmcommission

Actor, director, and showrunner Bill Hader (BARRY, INSIDE OUT, THE SKELETON TWINS) joins Team Deakins to discuss his multi-faceted career in one of our funnier conversations. Reared in Tulsa, Oklahoma, Bill describes how he first rode into town despite an early setback being rejected from film school for being “too entertaining.” We later drive down memory lane as Bill recounts several exciting but terrifying stories of PA’ing on low-budget films around LA—stops include a seven camera setup (all pointed at a map), watching us wrap early on THE MAN WHO WASN’T THERE (with envy), and learning what a controlled burn is (and maybe isn’t). Bill also shares his experience co-showrunning BARRY with Alec Berg, a discussion ranging in topics from “what is a tone meeting?” to which takes actor Henry Winkler consistently nails his performance. At the end, Bill discusses his post-BARRY aspirations and the longevity of classic films that, despite their imperfections, stand tall today on the merits of their craft. - This episode is sponsored by Dallas Film Commission Instagram: @dallasfilmcommission

Acclaimed costume designer Jenny Beavan (MAD MAX: FURY ROAD, CURELLA, A ROOM WITH A VIEW) joins us for a conversation about her craft on this episode of the Team Deakins Podcast. Hailing from England, Jenny shares how she fell in with the famed Merchant Ivory troupe, and she describes spending her early formative professional years traveling around the world and working alongside the legendary filmmakers. We later consider how, just as with real people, characters reuse clothing and how some costume pieces take on a life of their own. Jenny also reflects on how she adapts after having the wool pulled over her eyes on a project and how designing costumes is never about the clothes themselves but about the stories they tell. At the end, Jenny is generous enough to offer salient advice to budding costume designers. - This episode is sponsored by Dallas Film Commission Instagram: @dallasfilmcommission

On this episode of the Team Deakins Podcast, we sit down with writer and director Ava DuVernay (WHEN THEY SEE US, 13TH, SELMA) for a lively conversation about her career and her craft. Ava credits her early love for cinema to her classic-film-loving, night-shift-working aunt, and she describes the lightbulb moment while on location of Michael Mann’s COLLATERAL that catalyzed her transition from running her own boutique publicity agency to filmmaking. Ava later shares David Oyelowo’s persuasive pitch to her to direct SELMA, what changes she made to the script to make the film within its relatively modest budget, and how Oprah lent her influence during the shooting of a pivotal scene. After Ava reveals her newfound love for dailies while shooting her latest feature, we consider the viewing ritual’s collaborative nature, its widespread decline in use, and Ava’s commitment to the process in her future projects. Plus, at the end, Ava tells us which photo of Roger inspires her the most. - This episode is sponsored by Dallas Film Commission Instagram: @dallasfilmcommission

On this episode of the Team Deakins Podcast, we’re sharing the rest of our previously live-streamed conversation between Team Deakins and cinematographer Greig Fraser diving into his work on THE BATMAN. We start by talking all things lighting, and Greig shares how he and his team used non-film light fixtures to achieve a natural look in the film. We later discuss the importance of on-set chemistry and how a great attitude can outweigh experience when crewing. Greig shares how his team worked to match the menace of the Batmobile with the truck in Steven Spielberg’s DUEL and how closely he worked with the art department during production. Greig also reveals which light best complimented Zoë Kravitz’s makeup, and he pulls into focus the potential applications of an adjustable depth of field in the Volume lighting system. A link to the images mentioned in the episode can be found here. - This episode is sponsored by Dallas Film Commission & Falca Instagram: @dallasfilmcommission & @falcagram

On this episode of the Team Deakins Podcast, we’re sharing the first half of our live-streamed conversation between Team Deakins and cinematographer Greig Fraser focusing on his work on THE BATMAN. Greig describes to us what drew him to work on the project in the first place and how, even with COVID delays, he and director Matt Reeves still needed more time to prep. Greig reveals the early conversations he had with Matt about the potential applications of the Volume lighting system and how the interactivity of their intended lighting design precluded the use of bluescreen. We later consider the emotional impact of time of day and, in the face of recent technological advances, the irreplaceability of real actors. We discuss the film’s strength as a character piece and how those characters informed Greig’s design decisions, and we also pull back the cowl on the practicality of superhero capes. A link to the images mentioned in the episode can be found here. - This episode is sponsored by Falca & Dallas Film Commission Instagram: @falcagram & @dallasfilmcommission

Team Deakins is joined by talented production designer Ruth De Jong (OPPENHEIMER, NOPE, MANCHESTER BY THE SEA). A creative scion of the accomplished production designer Jack Fisk, Ruth explains how Jack recruited her to assist him on THERE WILL BE BLOOD and the subsequent ten year partnership in which he was her mentor. She later reflects on how she’s grown after each project as well as how to stay malleable after the train that is production leaves the station. Ruth also describes the invigorating responsibility she felt to deliver on OPPENHEIMER after Christopher Nolan cut days from the schedule to balance the film's budget and the timely encouragement he gave her deep in production. She also shares her experiences working on TWIN PEAKS: THE RETURN and how she worked off illustrations and paintings created by David Lynch to build and design the series’ many scenes. - This episode is sponsored by TrueCut Motion & Dallas Film Commission & Falca Instagram: @truecutmotion & @dallasfilmcommission & @falcagram - Recommended Viewing: OPPENHEIMER

On this episode of the Team Deakins Podcast, we’re sharing our thoughtful conversation with writer and director Ryan Coogler (BLACK PANTHER, CREED, FRUITVALE STATION). An Oakland native, Ryan reveals how film became his family’s second language and how his parents fostered his interest in cinema throughout his childhood. Later in our discussion, Ryan shares how he brought an athlete’s mentality to film school by always trying to score a touchdown every time he picked up the camera to prove to himself and to those around him that he could build a career in filmmaking. Ryan also reflects on creating CREED with Sylvester Stallone, praising him as “the perfect collaborator” and acknowledging how he couldn’t begrudge the creator of the ROCKY franchise for his cautiousness towards handing over writing duties for the first time in the franchise’s history. We also discuss how the filmmakers that broke through in the culture Ryan consumed in his youth influenced his professional direction and how, by relying on his crew, Ryan is free to focus on his actors. - This episode is sponsored by Dallas Film Commission & Falca & TrueCut Motion Instagram: @dallasfilmcommission & @falcagram & @truecutmotion

Team Deakins speaks with actor Benicio del Toro (SICARIO, TRAFFIC, THE FRENCH DISPATCH). Benicio expresses his gratitude to the Stella Adler Studio for serving him as a bastion in which he weathered the storm of rejections he faced early in his career. We discuss the definition of heroes on screen and what it means to play them, and Benicio considers the different demands of acting in superhero films in comparison to more grounded projects. We walk down memory lane remembering working together on SICARIO. Towards the end, we reflect that no production is the same experience and not one was the experience we thought it would be. - This conversation was recorded on May 2, 2023. - This episode is sponsored by Falca & TrueCut Motion & Dallas Film Commission Instagram: @falcagram & @truecutmotion & @dallasfilmcommission

Team Deakins sits down with writer, director, and actor Sarah Polley (WOMEN TALKING, STORIES WE TELL, AWAY FROM HER) on this episode of the Team Deakins Podcast. In the beginning, Sarah discusses her early career in acting and how she stepped away to focus on political activism. We later ask Sarah about the challenges transitioning from acting to directing, and she describes realizing that even if she didn’t consider herself an expert in the role, she recognized that she was the expert in the stories she was deciding to tell. At one point, Sarah credits director Atom Egoyan with setting the template for creating meaningful experiences making meaningful films which she applies to her own projects. Also revealed: which Sidney Lumet film Sarah found the most helpful to study while working on WOMEN TALKING. - This episode is sponsored by TrueCut Motion & Falca Instagram: @truecutmotion & @falcagram - Recommended Viewing: WOMEN TALKING

Team Deakins enjoys a conversation with writer and director Santiago Mitre (ARGENTINA, 1985; PAULINA; THE SUMMIT) on this episode of the podcast. Santiago begins by telling us how he found his way to filmmaking at an early age and how his politically active family informed the subjects of his films. Later, we discuss using cinema to think about the problems of one’s country, and Santiago expresses his growing interest in exploring Argentinian history on-screen following his experience creating ARGENTINA, 1985. We also touch on the film’s global resonance today and its cathartic reception by Argentinean audiences. Towards the end, Santiago shares how he re-cast a major role in the riotous PETITE FLEUR and the lessons he learned from the film’s production that he applied to ARGENTINA, 1985. - This episode is sponsored by Falca & TrueCut Motion Instagram: @falcagram & @truecutmotion - Recommended Viewing: ARGENTINA, 1985; PAULINA