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This time on the show, Áron speaks with Florian Hoffmeister, the cinematographer of “True Detective: The Night Country”, the fourth season of the beloved HBO anthology series.
Florian shared his experiences on the technical and logistical challenges of shooting in the extreme conditions of Iceland. From the complexities of filming both indoors on stages, and outdoors in the low-light conditions, to the special lighting techniques required, as well as the safety measures necessary for working in the cold environment.
He also highlighted his deep involvement in crafting the series' mood and look, achieved through extensive experimentation before shooting started. -
In our next episode, Áron interviews four key contributors behind the film “Jazzy”: Andrew Hajek (DoP & co-writer), Morrisa Maltz (Director & co-writer), Lainey Bearkiller Shangreaux (Actress & co-writer), and Vanara Taing (Co-editor & co-writer).
“Jazzy” explores the transition from childhood to young adulthood. When her best friend moves away, Jazzy navigates a profound sense of loss and her first taste of independence.
In this conversation, the team discusses the birth and inspiration behind the movie, the film's emotional core, its portrayal of beauty and optimism during tough times, and the unique challenges or rewards of working with child actors. The discussion also touches on current trends in cinema and the creative process of finding the sweet spot for the runtime.
Join us for a spoiler-free deep dive into the making of Jazzy, Morrisa Maltz's sophomore feature, premiering at the 2024 Tribeca Film Festival. -
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Next up, we welcome James Jones, the director of the documentary “Antidote” on the show.
The film tells the courageous stories of whistleblowers and activists who risk everything to expose Putin's authoritarian regime, facing dire consequences for their bravery.
Áron talks with James about the parallels between “Antidote” and the 2022 documentary “Navalny”, shedding light on the relentless pursuit of truth in the face of tyranny. They also delve a bit into the use of AI in documentary filmmaking, exploring how technology can expand the way true stories, such as this, are told. Additionally, James shares insights into his influences as a journalist-turned-director, offering a unique perspective on his creative process, in our spoiler-free interview.
“Antidote” made its debut at the 2024 Tribeca Film Festival and is set to screen at the DC/DOX Film Festival later this month.
(Photo credit: Edgar Dubrovskiy / Courtesy of Passion Pictures) -
The second episode of our coverage at this year’s Tribeca is here, as Áron sat down with the director, Daniel Oriahi and the two leads, Uzoamaka Aniunoh and Bucci Franklin, of the genre-bending horror thriller, “The Weekend”.
In this interview you can learn about Daniel’s inspirations for the visuals of the movie and how the actors coped with the mental challenges of the shoot
This fresh take on the ‘nightmare at the in-laws’ -genre will make you second guess your trust in your surroundings and relationships!
(Photo credit: Kagho Idhebor) -
The 2024 Tribeca Film Festival kicked off this week and in this episode you can hear Áron talking with director Tolga Karacelik and cinematographer Natalie Kingston to discuss their much-anticipated film, "The Shallow Tale of a Writer Who Decided to Write About a Serial Killer". The story follows a struggling writer in the midst of a divorce who befriends a retired serial killer. The killer unexpectedly becomes both his marriage counselor by day and his advisor on killing for his next book by night.
Tolga shares insights on why this project became his first English language feature film, how he very specifically decides on the names of his characters, and the crucial role of collaboration in filmmaking. Natalie discusses the inspirations and challenges presented by New York as a filming location, and she elaborates on the specific shooting, lighting, and blocking techniques she employed to complement a dialogue-heavy script.
Join us for a spoiler-free conversation where we dive deep into the creative process and technical expertise behind “The Shallow Tale”, right before its world premiere in New York.
(Photo credit: Zach Dilgard) -
In this episode, Szilveszter sits down with the director, Weronika Tofilska (0:55), while Áron speaks with the cinematographer, Krzysztof Trojnar (26:23), of the gripping new show 'Baby Reindeer'.
This series, adapted from Richard Gadd's acclaimed one-man stage play, chronicles his harrowing experience with a female stalker and the dark, hidden trauma it forces him to confront. Weronika and Krzysztof, who collaborated on the first four of the seven episodes, share their journey of bringing this intense true story to life on screen.
They delve into their past projects together and the unique challenges they faced while filming the show. The interviews touch upon incorporating elements like social media or emails into the narrative and highlight the renowned fourth episode, with exclusive behind-the-scenes stories that reveal the creative process behind its stunning visuals.
Join us for an insightful exploration of the making of 'Baby Reindeer' and the powerful storytelling that drives this haunting series. -
For this episode we got to talk to Steven Knight about his latest limited series, FX’s The Veil, headlined by the one and only Elisabeth Moss.
Research, his writing process, generating yet keeping tension under control and homages are among the topics Áron covered with the show's writer, creator, showrunner.
Steve has written (and at times directed) films like Locke, Spencer or Eastern Promises, and well-known, critically acclaimed TV shows, such as the Peaky Blinders or Taboo.
Just in the last couple of months we got to see two of his new series: All the light We Cannot See and This Town, all the while he has a great number of projects lined up, including Star Wars: New Jedi Order, a Peaky Blinders film, and Pablo Larraín's next, a project that is covered shortly near the end of the episode, the Angelina Jolie starrer Maria. -
Creating a score that perfectly matches the atmosphere of a new show is a challenge, but when a series is renewed, the composer faces the additional task of evolving, while maintaining the music’s familiar essence. Our next guest, Marty Beller, found himself in this exact situation transitioning from Season 1 to Season 2 of ‘American Rust’.
In this episode, Marty talks to Áron about balancing the differences and similarities between playing in a band like They Might Be Giants and composing for TV shows and films. -
In this episode, Áron interviews Jess Gonchor, the production designer behind the enchanting world of John Krasinski’s ‘IF’.
The film follows a young girl navigating a tough time in her life, who begins to see the forgotten imaginary friends of those who have grown up.
Jess shares his insights on creating the whimsical and poignant settings that bring this unique story to life. Drawing on his extensive experience, including his acclaimed work on films like ‘No Country for Old Men’, ‘Little Women’ and ‘A Quiet Place Part II’, Jess reveals the magic and challenges of designing a world where imagination meets reality.
Tune in to discover the intricate art of production design that makes ‘IF’ a visually captivating and emotionally resonant film. -
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'.
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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. -
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.
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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. - もっと表示する