Episoder
-
In this episode, Áron sits down with Sidd Khosla, the talented composer behind the evocative score of 'The Idea of You'. While the boy band August Moon fills the film with infectious hits, it's Sidd's music that truly brings the quieter, more emotional moments to life. Join us as we explore how Sidd crafted a soundtrack that perfectly complements the highs and lows of the story, drawing on his rich experience from acclaimed projects like 'This Is Us' and 'Only Murders in the Building'.
-
Today’s guest is no stranger to editing wonderfully constructed, tension-filled episodes or TV shows, since Vikash Patel has worked on projects like Ozark or Five Days at Memorial.
This time we cover his work on HBO’s The Sympathizer, where he edited the first two and the fifth episode. Viks told Áron his experience from working shoulder to shoulder with Director Park, to realizing what’s written on the pages of the script in the editing room. -
Mangler du episoder?
-
The score for Dev Patel’s directorial debut and true passion project, Monkey Man, has an authentic yet undeniably fresh feel to it.
If you would like to go behind the scenes of the approach and process that led to the birth of the music playing in the background while Dev Patel’s character, Kid beats the sh*t out of everyone, you’re in the right place, as in this epsiode Szilveszter sits down with the film’s composer, Jed Kurzel. -
The first three episodes of HBO's The Sympathizer showed us that even everything but rather nothing is as we see it... And then comes the fourth which is almost completely a standalone installment right in the middle of the limited series. However this is no accident, it's entirely deliberate. On today's episode cinematographer Barry Ackroyd joins Áron to talk about coming in for a single episode, his experience in shooting explosions and war, as well as who would play him in a movie.
-
By now you can stream the final episode of Shōgun and so the amazing FX show in its entirety as well.
The whole buildup and evolution of Shōgun is an absolute work of art and in this episode you can listen to Áron’s chat with the first two episodes’ director and cinematographer, Jonathan van Tulleken and Christopher Ross.
From the start of their work together on Misfits, onto Top Boy and now Shōgun, they covered the dynamics of their collaboration, preparing for the series, jumpstarting it, and finding the ideal look for it, then passing the torch on to those working on the later episodes.
(Photo credit: Kurt Iswarienko/FX) -
Can you guess how many different Italian villas/churches/horse stables it took to create the convent for Immaculate? The film’s production designer, Adam Reamer, has the answer and he shared it with us. Filming locations, favourite sets, and Italy’s seemingly endless religious prop collection were all discussed in Szilveszter’s interview with Adam (0:52).
However, this is not everything for the episode! To have a whole picture about the visual storytelling details of Immaculate, Áron had the pleasure of welcoming the film’s cinematographer, Elisha Christian, on the show. For a horror film atmosphere is essential, and from Elisha you can learn how the tension escalated through the pacing and the movements of the camera, and lights will be drawn on the moody candlelit scenes as well (35:00). -
This time we have a real treat for you, as Áron spoke to some of the creative minds whose work allowed HBO’s brand new mini series to look and feel this lived in, this surreal yet lifelike.
In chronological order you can hear the show’s editors Paulo Pandolpho and Peter Lambert (01:08), followed by production designer Kave Quinn (35:32), and last but not least to complete the story behind the visuals, cinematographer Alwin H. Küchler (1:03:38).
This unusually long episode gives some insight on piecing the six episodes together in terms of pacing, keeping the inside and the outside of the palace as far and different from one another as possible, and even how power and responsibility go hand in hand not just for the Chancellor, but for people in the film industry as well.
(Photo credit: HBO) -
“Can you hear the music, Robert?” points Bohr the question to Oppenheimer in the latest Best Picture winner.
Our next guest can not only hear the music, but also understand it, create (with) it.
Jeff Russo has worked on the score of many deservedly admired TV shows, such as Fargo, Star Trek: Discovery and Picard or For All Mankind.
This Thursday another project he’s worked on, RIPLEY starring Andrew Scott and Dakota Fanning, landed on Netflix. On this occasion Jeff sat down with Áron to talk about his work on season 5 of Fargo, the difference in approach between limited VS anthology series, or how the music can take even the man behind the wheel on some unexpected ventures. -
The next guest on our podcast is Christian Masini, the editor of Immaculate, who summed up the film the following way: “You show up to it, the movie punches you in the face and then it’s over”
Chris and Szilveszter discussed various aspects of editing a horror film, including jump scares, finding the right length for the film, or how acting performances can influence an editor’s decision making process.
Furthermore, we also got behind the scenes looks on a few key moments, like Cecilia’s interrogation or the infamous nail-tearing scene. -
Who would've guessed that Syndey Sweeney's going to be our next scream queen? We could insert the infamous Paul Rudd meme ("Who would've thought? Not me...") here but it might not be that much of a surprise after all.
However there are many aspects to Neon's Immaculate, directed by Michael Mohan, that resulted in this very much talked about horror flick. One of these is the absolutely chilling, yet at times playful score, thanks to the brilliant Will Bates.
On the week of the film's wide theatrical release Will and Áron talked about the building suspense in the music, the roller coaster ride it can take the audience on, and the instruments he used while scoring this film that you might not generally associate with the genre.
(Photo credit: Alix Becq-Weinstein/Rhapsody PR) -
2019’s The Gentlemen film, written and directed by Guy Ritchie, has a whole vibe and style of its own that until now we could’ve only hoped for to be revisited again. Then this year Netflix has brought us an 8 episode series that very well might only be the start of the new chapter for the world of the likes of Mickey Pearson or Eddie Horniman.
The show’s second half was shot by Callan Green (ACS, NZCS) and in this episode he tells Áron about picking up from a point where half the story was shot, adjusting to the directing style of multiple directors, and many more. -
Colby Day wrote the screenplay for ‘Spaceman’, the Netflix film premiering earlier this year at Berlinale. Colby was kind enough to feature on our podcast and discuss his background and future, while of course covering many aspects of writing Spaceman.
Among other topics, he told Szilveszter about his theatre roots, what kind of writing process he used, how he adapted Jaroslav Kalfar’s book to the screen, and delved into the relationships of the main character, Jakub, portrayed by Adam Sandler.
The 3-hour long first draft, the fall of the Soviet Union, and the soothing voice of Paul Dano are also on the table in this episode.
(Photo credit: Zack DeZon) -
Filmmaking is all about collaboration. No project could ever evolve into an actual film or show without the coordinated work of different departments.
Not long after Netflix’s Orion and the Dark (written by Charlie Kaufman and directed by Sean Charmatz) was released, Áron spoke to the film’s composers Kevin Lax and Robert Lydecker.
Their conversation covers themes such as the workings of the previously mentioned collaborations, like theirs; conveying different feelings and attributing music to them; or even music that helped them get through hard times when they were young.
(Photo credit: DreamWorks Animation) -
If you keep track of new releases there is a good probability that you’ve heard the music of Marcelo Zarvos last year. Marcelo contributed to the score of six titles released in 2023, including The Equalizer 3, Cassandro or Flamin’ Hot.
While these titles are mentioned in our interview with him, the focus is most definitely on Todd Haynes’ May December. The director set a new challenge to his composer, with the task of having to adapt another film’s score into the world of May December. In his talk with Szilveszter, Marcelo goes into detail regarding the adaptation process, its challenges, and how he views the characters and the story. -
Without a doubt, one of last year’s greatest writing debuts was that of Samy Burch who wrote the script of May December and co-developed its story with her spouse, Alex Mechanik. They received an Academy Award nomination for Best Original Screenplay and won this year’s Independent Spirit Award for Best First Screenplay.
On Oscar Day we are publishing Áron’s interview with Samy, and of course, the episode plunges into the masterfully complex characters and intricate story of May December but before that you can hear them speak a bit about her experience at the Nominees Luncheon, the awards season as a whole and working with her husband. -
Continuing our countdown to this year’s Oscars and behind the scenes look at The Holdovers, we are treating you with a longer episode this time. Áron conducted two interviews regarding Alexander Payne’s heartfelt dramedy focusing on the technicalities that helped the film’s creators achieve its unique, yet authentic ‘70s look.
First you can hear Eigil Bryld discuss the cinematography of the film, for which he just won an Independent Spirit Award. By the way you can also find his work in Martin McDonagh’s In Bruges or last year’s comedy hit No Hard Feelings starring Jennifer Lawrence.
Then, Eigil is followed by the film’s production designer, Ryan Warren Smith, whose previous projects include the 2015 horror, Green Room or the third season of HBO’s True Detective.
(Poster Credit: Courtesy of Focus Features / © 2023 FOCUS FEATURES LLC) -
The second time we can welcome an editor on the podcast has come, as you can listen to Áron’s interview with two-time Oscar nominee Yorgos Mavropsaridis, editor of Poor Things.
Mr. Mavropsaridis is a longtime collaborator of visionary director Yorgos Lanthimos, with whom he has been working since the beginning of the director's career, making commercials.
Yorgos gave us insight into this relationship and advice on how to keep it sustainable, before diving into the beautiful depths of Poor Things, covering themes such as the dimensions of editing, keeping the creative integrity alive and the pressures of decision-making. -
The next guest on the show is Josh Weston, fresh off a BAFTA win in the Best Makeup and Hairstyling category for Poor Things, for which Nadia Stacey, Mark Coulier and he are also nominated at this year's Academy Awards thanks to their wonderful work.
Josh’s filmography includes a number of popular films, as he worked on the makeup and prosthetics of Elvis; Last Night in Soho; the Fantastic Beasts films and Suspiria, not to mention TV shows, like Game of Thrones or The Witcher.
Josh was kind enough to talk to Szilveszter about the prosthetics we see in this unusual coming-of-age film starring Emma Stone, including a behind the scenes look at the inspirations and the application process of Willem Dafoe’s memorable appearance as Godwin Baxter. -
An underrated but incredibly important element of filmmaking is the sound mixing because you would surely recognise it right away if something “sounded off”. If you have seen Maestro, you probably noticed how the sound contributes to both the soft and intimate scenes, as well as to the big and loud parts. Well, it definitely captured our attention, hence our next guest is Steve Morrow, production sound mixer of Maestro.
Steve has already received four Oscar nominations for best sound for the following films: La La Land; A Star Is Born; Ford v Ferrari, and of course Maestro, Bradley Cooper’s second film as a director. You can also find his work in Fast X; Prey and (one of Szilveszter’s all time favorites) Babylon.
In Áron’s interview with Steve, among many other topics, you can hear him talk about passion projects, Bradley Cooper’s directorial instincts, how to record an entire orchestra live during the much talked about cathedral scene, plus a little bit of Joker: Folie à Deux and SNL 1975.
(Photo credit: Jason McDonald/Netflix) -
One of 2023’s most heartwarming movies, The Holdovers, scored 5 Oscar nominations, including Best Editing and we are incredibly lucky to kickstart We Need to Talk About Oscar with the film’s editor: two time Academy Award Nominee Kevin Tent.
Kevin is not only a member of the American Cinema Editors (ACE) who won the ACE Eddie Award for The Descendants in 2012, besides being nominated 5 other times between 2000 and 2024, but he is also the president of the board.
Most of you probably know his work thanks to his longstanding collaboration with director Alexander Payne, as they have worked together on every single feature film Payne has directed.
Kevin talked to Szilveszter about The Holdovers, his early days in the film industry and working together with the one and only Alexander Payne.
If you haven’t seen The Holdovers so far, we highly recommend you to do so. Trust us, it will be worth your time!
(Photo credit: Peter Zachery)