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The Cinematography Podcast
เข้าร่วมเมื่อ 3 เม.ย. 2016
The official TH-cam home of The Cinematography Podcast. Since 2014, we've been doing a deep dive into the art, craft and philosophy of the moving image, and the people who make it happen. In 2016 we launched the Backlight Tour, which is like a "Travel and Leisure" portion of the show that you can watch. In each episode we attend an event, offer real world advice, and meet filmmakers and industry professionals you should be following. Catch up with our show on iTunes, itunes.apple.com/us/podcast/the-cinematography-podcast/id812436884?mt=2
The beauty of The Brutalist: Lol Crawley, BSC
The Cinematography Podcast Episode 298: Lol Crawley
The Brutalist tells the story of László Tóth (Adrian Brody) a Hungarian-Jewish architect who survives the Holocaust and emigrates to the United States. He meets a wealthy industrialist, Harrison Lee Van Buren (Guy Pierce), who recognizes his talent, and commissions him to design a grand community center. The opportunity presents both a chance for redemption and a descent into a dangerous power dynamic.
Cinematographer Lol Crawley, BSC is currently nominated for an Academy Award for his stunning work on The Brutalist. He and director Brady Corbet chose to shoot on VistaVision, which uses 35mm film horizontally instead of vertically, significantly increasing the image area and resolution. Corbet was always interested in shooting on a larger format in order to capture the landscapes and architecture in the film. VistaVision proved to be a less expensive way to shoot on large format, especially since many rental companies were reluctant to rent their 65mm cameras to a modestly budgeted, independent feature. Lol knew fellow cinematographer Robbie Ryan had also used VistaVision for parts of Poor Things. He was able to use the same technicians Robbie used while The Brutalist shot in Budapest.
The choice of VistaVision was not just about technical specifications. For The Brutalist, set in the early late 1940s and early 1950s, Lol felt it was appropriate to use a camera and film stock that evoked the era. Even the photochemical process of film itself added a unique character. “What we have chosen to do with the Kodak stock is to abuse the stock slightly, to underexpose it, to push process it, to come up with a more painterly image or something that we feel depicts a certain era,” says Lol. “And we’ve found that by underexposing the stock and distressing the dye layers, then forcing the image back up, you’re dragging up colors within the shadows that we find to be very pleasing, interesting and more impressionistic or painterly image.”
One of the most striking sequences in The Brutalist is the opening scene, a single continuous take following László through a ship as he disembarks in America. Lol, who also operated the camera in most of the film, used a smaller handheld camera for the scene. To accentuate the disorientation as László gets off the boat, the editor decided to flip the images around. “The idea is supposed to be that he comes to America, and it’s a new hope,” says Lol. “But the fact that it’s untethered and disorientating and flipped on its head is a really ingenious way of representing that László’s time in the US is not going to be all he imagined.”
Lol’s approach to cinematography emphasizes a balance between documenting reality and fiction. “I’ve always thought that my cinematography was about responsiveness,” he says. “Cinematography is about light, camera movement, and composition. If I had to get rid of one or let one of those things go, it would be the lighting. What I like to do is to have one foot in documentary and one foot in fiction, and be open to respond. So I tend to shotlist less, I tend to storyboard less.” The cinematographer Christopher Doyle told him once, “In Western cinema, you say, ‘Here’s the frame, how do we fill it?’ In Asian cinema we say, ‘Here’s the world, how do I frame it?’”
Lol Crawley: Instagram: @crawleylol
Close focus: The Academy Award nominees for Best Cinematography:
The Brutalist (Lol Crawley)
Dune: Part Two (Greig Fraser)
Emilia Pérez (Paul Guilhaume)
Maria (Ed Lachman)
Nosferatu (Jarin Blaschke)
Not on the list: Ben feels Alice Brooks deserved a nomination for Wicked.
Ben’s short end: Presence, the new Steven Soderbergh film.
Illya’s short end: The Sundance Film Festival, which is going on this week, will move to a new location in 2027. The three choices are: Salt Lake City/Park City, Boulder, Colorado or Cincinnati Ohio.
Indiewire’s Sundance 2025: How 43 Cinematographers Shot Their Narrative Features
Sponsored by Aputure: The Aputure Nova P600C Panel Light Fixture Kit is an LED light panel truly built for professionals, integrating features that enhance on-set workflow. You can buy it at Hot Rod Cameras.
Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative. Greentree Creative can help you with all of your digital marketing needs including podcast launch and creation, advertising, social media management and content creation.
Email: editor@camnoir.com
Facebook:@cinepod
Instagram: @thecinepod
Threads: @thecinepod
Blue Sky: @thecinepod.bsky.social
Podcast Credits:
Producer: Alana Kode
All web and social media content written by Alana Kode
Host and editor in Chief: Illya Friedman
Instagram: @illyafriedman @hotrodcameras
Host: Ben Rock
Twitter: @neptunesalad
Instagram: @bejamin_rock
Editor: Michael Dispenza
Composer: Kays Al-Atrakchi
The Brutalist tells the story of László Tóth (Adrian Brody) a Hungarian-Jewish architect who survives the Holocaust and emigrates to the United States. He meets a wealthy industrialist, Harrison Lee Van Buren (Guy Pierce), who recognizes his talent, and commissions him to design a grand community center. The opportunity presents both a chance for redemption and a descent into a dangerous power dynamic.
Cinematographer Lol Crawley, BSC is currently nominated for an Academy Award for his stunning work on The Brutalist. He and director Brady Corbet chose to shoot on VistaVision, which uses 35mm film horizontally instead of vertically, significantly increasing the image area and resolution. Corbet was always interested in shooting on a larger format in order to capture the landscapes and architecture in the film. VistaVision proved to be a less expensive way to shoot on large format, especially since many rental companies were reluctant to rent their 65mm cameras to a modestly budgeted, independent feature. Lol knew fellow cinematographer Robbie Ryan had also used VistaVision for parts of Poor Things. He was able to use the same technicians Robbie used while The Brutalist shot in Budapest.
The choice of VistaVision was not just about technical specifications. For The Brutalist, set in the early late 1940s and early 1950s, Lol felt it was appropriate to use a camera and film stock that evoked the era. Even the photochemical process of film itself added a unique character. “What we have chosen to do with the Kodak stock is to abuse the stock slightly, to underexpose it, to push process it, to come up with a more painterly image or something that we feel depicts a certain era,” says Lol. “And we’ve found that by underexposing the stock and distressing the dye layers, then forcing the image back up, you’re dragging up colors within the shadows that we find to be very pleasing, interesting and more impressionistic or painterly image.”
One of the most striking sequences in The Brutalist is the opening scene, a single continuous take following László through a ship as he disembarks in America. Lol, who also operated the camera in most of the film, used a smaller handheld camera for the scene. To accentuate the disorientation as László gets off the boat, the editor decided to flip the images around. “The idea is supposed to be that he comes to America, and it’s a new hope,” says Lol. “But the fact that it’s untethered and disorientating and flipped on its head is a really ingenious way of representing that László’s time in the US is not going to be all he imagined.”
Lol’s approach to cinematography emphasizes a balance between documenting reality and fiction. “I’ve always thought that my cinematography was about responsiveness,” he says. “Cinematography is about light, camera movement, and composition. If I had to get rid of one or let one of those things go, it would be the lighting. What I like to do is to have one foot in documentary and one foot in fiction, and be open to respond. So I tend to shotlist less, I tend to storyboard less.” The cinematographer Christopher Doyle told him once, “In Western cinema, you say, ‘Here’s the frame, how do we fill it?’ In Asian cinema we say, ‘Here’s the world, how do I frame it?’”
Lol Crawley: Instagram: @crawleylol
Close focus: The Academy Award nominees for Best Cinematography:
The Brutalist (Lol Crawley)
Dune: Part Two (Greig Fraser)
Emilia Pérez (Paul Guilhaume)
Maria (Ed Lachman)
Nosferatu (Jarin Blaschke)
Not on the list: Ben feels Alice Brooks deserved a nomination for Wicked.
Ben’s short end: Presence, the new Steven Soderbergh film.
Illya’s short end: The Sundance Film Festival, which is going on this week, will move to a new location in 2027. The three choices are: Salt Lake City/Park City, Boulder, Colorado or Cincinnati Ohio.
Indiewire’s Sundance 2025: How 43 Cinematographers Shot Their Narrative Features
Sponsored by Aputure: The Aputure Nova P600C Panel Light Fixture Kit is an LED light panel truly built for professionals, integrating features that enhance on-set workflow. You can buy it at Hot Rod Cameras.
Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative. Greentree Creative can help you with all of your digital marketing needs including podcast launch and creation, advertising, social media management and content creation.
Email: editor@camnoir.com
Facebook:@cinepod
Instagram: @thecinepod
Threads: @thecinepod
Blue Sky: @thecinepod.bsky.social
Podcast Credits:
Producer: Alana Kode
All web and social media content written by Alana Kode
Host and editor in Chief: Illya Friedman
Instagram: @illyafriedman @hotrodcameras
Host: Ben Rock
Twitter: @neptunesalad
Instagram: @bejamin_rock
Editor: Michael Dispenza
Composer: Kays Al-Atrakchi
มุมมอง: 721
วีดีโอ
Rina Yang, BSC: Igniting The Fire Inside
มุมมอง 154วันที่ผ่านมา
The Cinematography Podcast Episode 297: Rina Yang The Fire Inside is the true story of Claressa “T-Rex” Shields, a boxer from Flint, Michigan and her trainer, Jason Crutchfield. She became the first American woman to win Olympic gold in boxing. The Fire Inside is the feature directorial debut for Rachel Morrison, the first woman cinematographer nominated for an Academy Award. Cinematographer Ri...
Jarin Blaschke: Crafting Darkness in Nosferatu
มุมมอง 91114 วันที่ผ่านมา
The Cinematography Podcast Episode 296: Jarin Blaschke Nosferatu is a gothic tale of obsession, about a young woman, Ellen, who faces a terrifying supernatural entity after her husband travels to Transylvania to conduct business with the enigmatic Count Orlok. As Orlok arrives in her town, he brings a plague of death and terror, forcing Ellen to confront the monstrous vampire and the darkness w...
Media and the Munich massacre: DP Markus Förderer
มุมมอง 13821 วันที่ผ่านมา
The Cinematography Podcast Episode 295: Markus Förderer The film September 5 is the story of the ABC Sports broadcasting team covering the terrorist attack at the 1972 Munich Olympics. It was the first Olympics to be broadcast live, when Israeli Olympians were taken hostage at the Olympic Village by Palestinian terrorists. The sports reporting team, initially focused on covering the games, find...
Phedon Papamichael: Unveiling Bob Dylan in A Complete Unknown
มุมมอง 380หลายเดือนก่อน
The Cinematography Podcast Episode 294: Phedon Papamichael We welcome back Phedon Papamichael, ASC, GSC for the fourth time on The Cinematography Podcast. Cinematographer Phedon Papamichael started preproduction on A Complete Unknown with frequent collaborator, director James Mangold in 2019, before being postponed by the pandemic. They began prepping in summer 2023 and shooting in earnest by t...
Lawrence Sher, ASC on ShotDeck, Joker: Folie à Deux
มุมมอง 300หลายเดือนก่อน
The Cinematography Podcast Episode 293: Lawrence Sher Cinematographer Lawrence Sher, ASC has a career that spans indie favorites like Garden State to blockbuster hits like the Hangover movies and Joker. But it was the arduous process of creating lookbooks for Garden State that sparked an idea: a comprehensive, searchable database of cinematic images. This idea evolved into ShotDeck, a powerful ...
Anora's distinctive style: cinematographer Drew Daniels
มุมมอง 637หลายเดือนก่อน
The Cinematography Podcast Episode 292: Drew Daniels Anora is the story of Brooklyn, New York exotic dancer, Anora, who meets Ivan, the son of a Russian oligarch at the strip club. They impulsively marry, and once the news reaches Ivan’s parents, their henchmen kidnap Ani in order to force her and Ivan to get the marriage annulled. Anora won the 2024 Palme d’Or at Cannes, and is a potential 202...
The whimsical world of Wicked: Alice Brooks, ASC
มุมมอง 237หลายเดือนก่อน
The Cinematography Podcast Episode 291: Alice Brooks, ASC Cinematographer Alice Brooks, ASC was in post on In The Heights four years ago when director Jon M. Chu let her know their next project together was adapting the world-famous Broadway musical, Wicked. With such a huge fan base, Alice and Chu wanted to make sure they respected the musical, but they both wanted to find a dynamic, filmic wa...
Special Episode: A tribute to Adam Somner, Assistant Director, Producer
มุมมอง 6772 หลายเดือนก่อน
We were incredibly saddened by the loss of 1st Assistant Director and producer, Adam Somner. You can hear his fantastic energy, enthusiasm and entertaining storytelling as a guest on The Cinematography Podcast. Here we have re-posted his 2021 episode in memorial and tribute to his blockbuster career. He will be greatly missed. The job of the assistant director is to work in concert with the dir...
From grunge to Gladiator II: John Mathieson, BSC
มุมมอง 2.2K2 หลายเดือนก่อน
The Cinematography Podcast Episode 290: John Mathieson, BSC Cinematographer John Mathieson, BSC began his career shooting music videos for bands like Nirvana and Hole, moving into documentaries and commercials before working in feature films. Rather than going to film school, he joined friends who formed a film collective and everyone learned from each other. Director Ridley Scott saw his work ...
Capturing the Chaos of Saturday Night: Eric Steelberg, ASC
มุมมอง 1702 หลายเดือนก่อน
The movie Saturday Night is based on the true story of the 90 minutes leading up to the 1975 premiere of NBC’s Saturday Night Live. The comedy-drama isn’t just a film about the iconic show; it’s an immersive experience that captures the frenetic energy and chaos from the point of view of the show’s creator, Lorne Michaels. To bring this chaotic night to life, cinematographer Eric Steelberg and ...
Action comedy redefined: Thelma director Josh Margolin and DP David Bolen
มุมมอง 1362 หลายเดือนก่อน
The Cinematography Podcast Episode 288: Josh Margolin and David Bolen Thelma is a heartwarming and inspiring action comedy about Thelma Post, a 93-year-old woman who falls victim to a phone scam and loses $10,000. Determined to reclaim her money, Thelma embarks on a thrilling adventure with her friend Ben (Richard Roundtree) on his borrowed mobility scooter across Los Angeles. As Thelma, June S...
Jules O'Loughlin: Balancing action and character in The Old Man Season 2
มุมมอง 1032 หลายเดือนก่อน
In The Old Man Season 2, former CIA operative Dan Chase (Jeff Bridges) is forced to confront his past when his nemesis, Afghan warlord Faraz Hamzad kidnaps his daughter, Emily (Alia Shawkat). Chase and his former FBI handler, Harold Harper (John Lithgow), must navigate a dangerous world of international espionage and deadly consequences to rescue Emily. The season explores themes of identity, l...
The Creepy Cinematography of Smile 2: DP Charlie Sarroff
มุมมอง 5273 หลายเดือนก่อน
The Cinematography Podcast Episode 286: Charlie Sarroff In the horror film Smile 2, pop star Skye Riley, preparing for a world tour, encounters a troubled friend who passes on the sinister “Smile” curse. As Skye’s life spirals into chaos and her sanity deteriorates, she must confront the terrifying entity and its deadly grip before it consumes her and everyone around her. Cinematographer Charli...
Capturing the essence of The Substance: Benjamin Kracun, BSC
มุมมอง 8073 หลายเดือนก่อน
The Cinematography Podcast Episode 285: Benjamin Kračun In The Substance, Elisabeth Sparkle (Demi Moore) is an aging celebrity fitness instructor who’s fired once she turns 50. She injects herself with a black market drug that creates Sue (Margaret Qualley), a younger, more perfect version of herself. While initially tempted by the promise of renewed youth and fame, she soon realizes that the d...
House of Spoils haunting beauty: DP Eric Lin
มุมมอง 2633 หลายเดือนก่อน
House of Spoils haunting beauty: DP Eric Lin
Creating the underworld of Beetlejuice Beetlejuice: DP Haris Zambarloukos
มุมมอง 1634 หลายเดือนก่อน
Creating the underworld of Beetlejuice Beetlejuice: DP Haris Zambarloukos
The Thicket director Elliott Lester on his Western epic
มุมมอง 1144 หลายเดือนก่อน
The Thicket director Elliott Lester on his Western epic
Shotcraft: A Masterclass in Cinematography with Jay Holben
มุมมอง 8194 หลายเดือนก่อน
Shotcraft: A Masterclass in Cinematography with Jay Holben
Hollywood's rainbow: Hollywood Pride author Alonso Duralde
มุมมอง 1154 หลายเดือนก่อน
Hollywood's rainbow: Hollywood Pride author Alonso Duralde
Creating the galaxy of The Acolyte: DP Chris Teague
มุมมอง 1665 หลายเดือนก่อน
Creating the galaxy of The Acolyte: DP Chris Teague
Strange Darling cinematographer Giovanni Ribisi pt. 2
มุมมอง 5415 หลายเดือนก่อน
Strange Darling cinematographer Giovanni Ribisi pt. 2
Actor to Auteur: Strange Darling DP Giovanni Ribisi
มุมมอง 1.2K5 หลายเดือนก่อน
Actor to Auteur: Strange Darling DP Giovanni Ribisi
Lessons in Chemistry: Cinematographer Zachary Galler's visual formula
มุมมอง 1115 หลายเดือนก่อน
Lessons in Chemistry: Cinematographer Zachary Galler's visual formula
House of the Dragon & Jim Henson: Idea Man cinematographer Vanja Černjul, ASC
มุมมอง 3585 หลายเดือนก่อน
House of the Dragon & Jim Henson: Idea Man cinematographer Vanja Černjul, ASC
Echo: Breaking Barriers with Kira Kelly, ASC | Cinepod
มุมมอง 1516 หลายเดือนก่อน
Echo: Breaking Barriers with Kira Kelly, ASC | Cinepod
Illuminating In the Arena: Serena Williams with DP Ayana Baraka | Cinepod
มุมมอง 5186 หลายเดือนก่อน
Illuminating In the Arena: Serena Williams with DP Ayana Baraka | Cinepod
Capturing terror in THEM: The Scare with DP Brendan Uegama | Cinepod
มุมมอง 1016 หลายเดือนก่อน
Capturing terror in THEM: The Scare with DP Brendan Uegama | Cinepod
Fallout Cinematographer Stuart Dryburgh | Cinepod
มุมมอง 1766 หลายเดือนก่อน
Fallout Cinematographer Stuart Dryburgh | Cinepod
dude is dressed like a wizard
oh
My favorite dp ever
Saw Nosferatu 3x in the theater, can’t get enough 🦇
This was great! What a delight Robbie Ryan is- so funny. Thank you for this.
The film was gorgeous. It’s as if it was shot with a brutalist style.
Igor is superb at his craft and as a person he is so good to listen to him .. thanks a lot to host for amazing podcast
❤🔥
Dude, Its ARSON app thanks to all the savages your politicians brought in not the environment
Interview starts at 8:15 time stamp
I worked with Adam when we were 15 years old, cleaning a department store in Hastings . He was so charismatic and fun even then. A big loss to everyone who knew him.
so refreshing. I love this guy.
Explicit language from Jarin Blaschke…? I am all ears.
My favourite DoP! Hey Larry! Loved the 2nd Joker. You did an amazing job again 🙏🏼
I thought it was a love story between a woman and a goat... Who knew?
Single best AD in the business. Such a sad loss. I had the pleasure of being Adam's 2nd AD on about eight commercials, including David Fincher's "Hallway" commercial for the Apple iPhone 3G. He was hilarious, kind, and incredibly assertive and forward-driving. Working with him was one of the very top highlights of my short career as a 2nd AD.
incredible interview. I still can't fathom how he managed to shoot the night and dawn battle scene in Gladiator 1 on film. that's absolutely crazy. 50 asa all the way is nuts
I'm a definitive supporter & admirer of the 2024 film Longlegs. Seems some individuals can't separate & adjust their reception of the movie with the unique marketing which utilized the Lambs & 7 comparisons, but even if some may have been disappointed with the actual film, there's really no denying the effectiveness & truly original vibe which is established and thoroughly maintained from the opening 3 minutes. "brought my long legs... Let me just..." An unseen character abruptly introducing themselves upon the opposite character & the unsuspecting soon to be startled audience, simply just leaning down into frame as the shot is abruptly cut to the "title card" and it's one of the most original & creepy tone setting pieces I've seen in awhile.
We were so sorry to hear of the passing of Adam Somner this week, and send condolences to his family. It was truly a joy to speak with him on the podcast, and he had so many great stories. We'll be reposting this episode again this week.
I met Adam in India on the jungle book I liked him immediately, his nervous energy, always walking at a slow run on his tipee toes ! I got lucky , right place, right tirme. So I'm an ad now, didn't have a clue, I just looked at Adam and thought, that's what I've got to do, he was my role model I bumped into him from time to time on set, I ended up 1st ad on special effects, our paths didnt cross that often but when they did , watching him work the floor, that's the ad I wanted to be, he was brilliant. Later I got such a buzz watching his credits, ad for Spielberg, associate producer, producer, hats off to the guy, all his own work. One of my heros. So glad I got to work with him and watch him shine. Can you imagine how many people he met/ worked with ? Always remembered my name ! I'll not forget him. Very special guy.
I see Daniel Craig is moonlighting again
Adam Somner - an amazing fellow.
Hmm th-cam.com/video/UEyg_WP7Z5M/w-d-xo.htmlsi=pbtDLNFFVCe4AoMa
amazing job
Absolutely laugh out loud funny movie. I loved it
Craziest movie I’ve seen all year! Great interview!
Lost me with that super long intro. Wanted to learn about the creator…
Thank you for all your insights and I loved how Longlegs was shot. Looking forward to watching Luto. This was a great conversation.
Thank you for tuning in!
Bobi wine my president
Enjoyed the film. On to buy the book.
Gordon Willis loves the look of this 😁
Gay George Lucas forgot about And The Band Played On. That was a good movie about the early days of the AIDS epidemic unless you don’t count made for TV movies. He has a great film review TH-cam channel with another critic called Breakfast All Day.
The Expanse is one of the more recent shows that was resurected by an outpouring of fan support (and Jeff Bezo's pocketbook).
Giovanni is the man, love his acting so can't wait to see this film
Uhhh how about the most iconic death scene for me in Saving Private Ryan!! Young medic asking for his mother while Tom Hanks is giving him more morphine than they can spare because he didn't want him to suffer. The most heartbreaking. That's what put him on my radar and that was in the 90s!!
The moment Ribisi is looking up at Hanks, hurting puppy dog eyes, asking "more morphine?" Hanks, frustrated & knowing it's entirely in vain & hopeless....but unable to deny him. Absolutely incredible though devastating. Been years since I've seen it but definitely want to rewatch again soon.
Would have been beneficial to show the clips of what you were talking about instead of a bunch of random clips. Good conversation though.
Agreed. We are allowed to show some clips released by the studio, but to include all the scenes discussed requires rights & clearances to be approved from both studio and TH-cam, which is time consuming to put it mildly. We highly recommend, turning on DUNE 2 on MAX and playing the scenes discussed while listening to the podcast, it adds another level to the conversation.
@@TheCinematographyPodcast Ah! Thanks for the clarification, I stand corrected.
This guy's resume is incredible. The Crow, Dark City, Prometheus, The Martian, Pirates. Absolutely incredible.
He is a legend!
Goddamnit I'm out of focus.
You're just artsy and impressionistic!
I didn't know Greid Fraser also worked on Let Me In. That's cool, I really liked that movie.
Never thought of skin undertones when creating a look for film, just learnt something new
Have you seen THEM? What are your thoughts?
for people looking for the interview, it starts at 16:43
3 body problem was great glad it was renewed hopefull Jonathan will return to work on the show
❤
yes, it was an absolutely amazing show, The Cinematography was amazing, loving all the UK-based shows. found your channel recently, and I can't wait to watch more podcasts
Agree!
Have you seen 3 Body Problem on Netflix yet?
Have you seen Baby Reindeer yet?
What is your favorite movie of 2024 so far?
Killers of the Flower Moon!!!
@@PakshiMedia Great taste!
Awesome work
Thank you!!!