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SEASON 2 - EPISODE 188 - Nick Kazan - Writer In this episode of the Team Deakins Podcast, we speak with writer Nick Kazan (BICENTENNIAL MAN, MATILDA, DREAM LOVER). Nick has been writing professionally for decades, and we spend much of our conversation with him discussing what he finds to work and not work in a screenplay. Nick also shares his relationship to a script after it's entered production, and we discuss how changes made during production can enhance a scene. We also learn how he's balanced writing spec scripts with assignments, what his opinion of the three act structure is, what he needs to know before he begins writing, and when he recognizes his writing is working. Nick also shares how a Harold Pinter play inspired him to begin writing in the first place, and we learn how he's been chasing the experience of writing for the very first time ever since. Plus, Nick reveals why he didn't leverage his the reputation of his father (director Elia Kazan) to build his own career, and we ask Nick: "What makes a good writer?" - Recommended Viewing: SHAMPOO - This episode is sponsored by Aputure

SEASON 2 - EPISODE 189 - Titus Welliver - Actor In this extended episode of the Team Deakins Podcast, we speak with actor Titus Welliver (BOSCH, DEADWOOD, THE TOWN). If you listened to our conversations with cinematographer Michael McDonough (Season 2, Episode 159) or cinematographer and director Ernest Dickerson (Season 2, Episode 58), then you know we love BOSCH. We were thrilled to speak to Titus not only about his work on the show but also about his life, the unconventional road he took to becoming an actor, and his perspective on acting as a career. Titus also reflects on working with and learning from the late cinematographer Haskell Wexler, and we discuss the relationship between actors, the camera, and the entire camera department. We later learn how Titus enforced good behaviour on the sets of BOSCH, and he reveals how the writers of the show would deal with anyone not preparing properly. Titus later reveals some of the acting inspirations behind his performance of Harry Bosch, and he recounts an evening spent smoking pot and receiving wisdom from actors James Coburn and Robert Mitchum after moving to Los Angeles. - Recommended Viewing: BOSCH - This episode is sponsored by Aputure

SEASON 2 - EPISODE 190 - Steve Ramsey - Gaffer In this episode of the Team Deakins Podcast, we speak with gaffer Steve Ramsey (THE BRIDE!, WEST SIDE STORY, JOKER). We worked with Steve on THE GOLDFINCH, and we had a great time catching up with him. During our conversation, we discuss what a gaffer actually does, what his or her responsibilities can be, and how Steve adjusts his process to work with cinematographers ranging from Janusz Kamiński to Vittorio Storaro—and us! Steve also grants us insight into working on the sets of several Steven Spielberg films, and he shares how he and the film's cinematographer will prepare a scene to give room for Steven to follow his instincts. We also reflect on the rise of LEDs, and we discuss a few instances in which classic tungsten lights and gels solved a problem on the day. At the end of the episode, Steve gives his advice for anyone interested in a career as a gaffer, and we reflect on the job's non-descriptive title. - Recommended Viewing: WEST SIDE STORY (2021) - This episode is sponsored by Aputure

SEASON 2 - EPISODE 187 - John Hillcoat - Director In this extended episode of the Team Deakins Podcast, we speak with director John Hillcoat (GEORGE & TAMMY, THE ROAD, THE PROPOSITION). Violence is often at the center of John's films, and we spend much of our conversation with him discussing its portrayal in his work, its ubiquity in the real world, and his fascination with its aftermath and consequences. Later, during our discussion of THE PROPOSITION, John reveals the source of inspiration for the project, how the film lost and then found financing, and why they shot it in the Australian Outback in the middle of the summer. John also relives the nightmare of fighting the Weinsteins over the cut of THE ROAD, and we learn how shooting the film in-camera protected it from outside meddling. Towards the end of our conversation, John describes the differences between working in television versus film, and he shares how he tried to use cinematic language within the limited series GEORGE & TAMMY. John also shares how he got his start shooting music videos in his home country of Australia, and we learn about his enduring quest to finally make the BLOOD MERIDIAN movie. - This episode is sponsored by Aputure & Picture Shop

SEASON 2 - EPISODE 186 - Peter Bradshaw - Film Critic In this episode of the Team Deakins Podcast, we speak with Peter Bradshaw, the film critic at The Guardian. We normally talk about making movies with our guests, but with Peter, we talk about watching and reviewing them instead. We learn how Peter became a film critic after being successfully sued by conservative MP Alan Clark for satire, and he shares how he thinks about criticism in general. Peter reflects on the learning curve of becoming a film critic, and we discuss how his job has changed with the proliferation of social media. Later, Peter shares how he balances the subjectivity of his own personal point-of-view of a film with the objective facts surrounding it in his reviews, and we learn which movies Peter realized, years later, he was wrong about. Peter also makes the case of cinema's competitiveness in modern life, and he shares which movies he watched growing up that sparked his love and appreciation for the movies. Plus, we reflect on living in a world where everything and everyone gets reviewed. - This episode is sponsored by Picture Shop & Aputure 

SEASON 2 - EPISODE 185 - Malgosia Turzanska - Costume Designer In this episode of the Team Deakins Podcast, we speak with costume designer Malgosia Turzanska (HAMNET, PEARL, AIN'T THEM BODIES SAINTS). Malgosia's life in film began after seeking refuge from a chemistry exam in a movie theater, and, with an assist from her friend, she soon found herself helping director Agnieszka Holland (Season 1, Episode 144) on JANOSIK. Throughout the episode, Malgosia uses specific experiences from the films she's worked on to discuss her design process. During our discussion of HAMNET, Malgoisa reflects on collaborating with her fellow countryman and cinematographer Lukasz Zal (Season 2, Episode 102), and she reveals the character details she focused on during the development of the costumes for Agnes and William Shakespeare, played by Jessie Buckley and Paul Mescal (Season 2, Episode 44). She later discusses how she works with actors in the fitting room, and she shares how they all might put their heads together to find the character. Plus, Malgosia reveals how cold emailing director David Lowery (Season 2, Episode 60) led to her working on AIN'T THEM BODIES SAINTS early in her career. - Recommended Viewing: HAMNET - This episode is sponsored by Aputure & Picture Shop

SEASON 2 - EPISODE 184 - Fiona Crombie - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Fiona Crombie (HAMNET, THE FAVOURITE, SNOWTOWN). Despite being raised on her father's film sets in Australia, Fiona didn't enter the family business until she dropped out of law school. Throughout our conversation, we discuss Fiona's general design process, her strategies for making the most of the given resources on a film, her typical day-to-day schedule during production, and how she communicates with her fellow filmmakers. Having worked on many period films, Fiona shares with us how she balances the realities of the budget with the intended vision of a film, and she reveals how she and the crew on MACBETH justified the choices they had to make under strict limitations. Fiona later reflects on working under close watch at Hatfield House on THE FAVOURITE, and she discusses collaborating with cinematographer Robbie Ryan (Season 1, Episode 148) and living a production designer's dream: seeing the whole set in a single shot. We also discuss Fiona's work in HAMNET, and she reveals the key piece of direction she received from director Chloé Zhao that unlocked the design of the film's version of The Globe Theatre. Plus, we learn what it's like to make a movie while pregnant. - This episode is sponsored by Picture Shop & Aputure

SEASON 2 - EPISODE 183 - Hlynur Pálmason - Writer / Director In this episode of the Team Deakins Podcast, we speak with writer and director Hlynur Pálmason (THE LOVE THAT REMAINS, GODLAND, A WHITE, WHITE DAY). Throughout the episode, we get into the weeds of Hlynur's unique filmmaking process, and we learn what his strategy has been to allow himself to fund and shoot the movies he wants to make. Hlynur describes his extensive writing process, and we learn about the importance of finding his locations while in the early development stages of his scripts. Later, we discuss Hlynur's tactics for making the most out of his relatively small budgets, and he reveals how he finds the rhythm of any given film with the actors. While discussing GODLAND, we reflect on the historical relationship between Denmark and Iceland in which the film is set, and we learn what Hlynur's motivation was for making the film to begin with. After studying still photography in Copenhagen and surviving a handful of odd jobs, Hlynur enrolled in the National Film School of Denmark, and we learn why he decided to take the film school route and what he ultimately gained from the experience. - Recommended Viewing: GODLAND - This episode is sponsored by Aputure & Picture Shop

SEASON 2 - EPISODE 182 - Martin Campbell - Director In this episode of the Team Deakins Podcast, we speak with director Martin Campbell (CASINO ROYALE, GOLDENEYE, EDGE OF DARKNESS). Faced with limited options for a career as a cameraman in New Zealand, Martin sailed to England, and five years in TV and 51 Tom Jones shows later, Martin transitioned into directing full time. As big fans of Martin's EDGE OF DARKNESS (1985), we didn't miss the opportunity to ask him about the making of the six-part BBC limited series, and we extensively discuss his choices and the challenges he faced. Martin describes the relative freedom the BBC gave him to shoot it, and we learn why he cast Bob Peck and Joe Don Baker in the two lead roles. Martin also reveals how they filmed the show as the scripts came in, and we discuss the alternative ending originally written for the final episode. Plus, Martin reveals why he remade the show as a feature years later in the United States. With two Bond films under his belt, Martin later shares how he was approached to direct GOLDENEYE, and he reveals why CASINO ROYALE was chosen to be grounded in reality. Martin also shares his tips for dealing with studio notes, and he reflects on how, throughout his life, his previous experiences set him up for success for what came next. - Recommended Viewing: EDGE OF DARKNESS (1985 UK TV Series) - This episode is sponsored by Picture Shop & Aputure

SEASON 2 - EPISODE 181 - Jack Fisk - Production Designer In this extended episode of the Team Deakins Podcast, we speak with production designer Jack Fisk (MARTY SUPREME, THERE WILL BE BLOOD, MULHOLLAND DRIVE). Spanning the worlds' jungles, mountains, and open plains, Jack's work as a designer brings the real world to the audience on the big screen. Throughout our conversation, Jack discusses his views on designing, and he recalls numerous stories detailing the exhaustive work behind his contributions to films such as DAYS OF HEAVEN, THE THIN RED LINE, and THE REVENANT. Later, Jack reveals how he resurrected post-war New York City in the Lower East Side in MARTY SUPREME, and we discuss how he collaborated with cinematographer Darius Khondji (Season 1, Episode 135) on the film and strove for originality in its design. Jack also reflects on the evolution of his lifelong friendship with David Lynch from high school up until his death in 2025, and he shares how he overcame a number of obstacles while designing MULHOLLAND DRIVE. Plus, Jack recalls how he survived the "highway of death" in Costa Rica. Listen to Ruth De Jong's episode (Season 2, Episode 49) to learn even more about Jack. - Recommended Viewing: MULHOLLAND DRIVE, DAYS OF HEAVEN - This episode is sponsored by Aputure & Picture Shop 

SEASON 2 - EPISODE 180 - Nicholas Britell - Composer In this episode of the Team Deakins Podcast, we speak with composer Nicholas Britell (JAY KELLY, DON'T LOOK UP, MOONLIGHT). "How can a score function within a film?" is the question driving most of our conversation with Nicholas, and throughout the episode he generously provides insight into his process and recalls several examples from his own work to demonstrate how he and his directors arrived at specific pieces of music. We also reflect on the varying natures of scores across film history, and Nicholas shares the challenges of composing for television. He also shares the types of conversations he has with directors after he's brought onto a project, and we learn how he developed the themes for JAY KELLY, DON'T LOOK UP,  and THE BIG SHORT. In addition to composing full scores, Nicholas has also contributed music heard within a film's world—during the development of 12 YEARS A SLAVE, he was brought on to compose the songs played in individual scenes, and he reflects on how he balanced the music as both a dramatic element and a piece of history.  - Recommended Viewing: DON'T LOOK UP - This episode is sponsored by Picture Shop & Aputure

SEASON 2 - EPISODE 179 - Kelly Reichardt & Christopher Blauvelt - Director & Cinematographer In this episode of the Team Deakins Podcast, we speak with director Kelly Reichardt and cinematographer Christopher Blauvelt. Kelly and Christopher started working together on MEEK'S CUTOFF, and they've continued their partnership through films such as FIRST COW, SHOWING UP, and THE MASTERMIND. During the conversation, Kelly (from Miami) shares how she made it out of Florida to join the film community in New York City, and Chris (from Los Angeles) reveals how he found himself following his filmmaking family into the business after a youth of truancy and rebellion. Later, we discuss their working relationship, and we learn why they  ended up meeting in the first place. We also spend much of the conversation discussing the making of their latest film, THE MASTERMIND, and we discuss the film's pacing and our changing relationship to time as an audience. Plus, Kelly reveals how long it took her to pay off the credit card she used to fund her first feature, and we stumble upon alternative titles to her films. - Recommended Viewing: THE MASTERMIND - This episode is sponsored by Aputure & Picture Shop

SEASON 2 - EPISODE 178 - Fatih Akin - Writer / Director In this extended episode of the Team Deakins Podcast, we speak with writer and director Fatih Akin (AMRUM, IN THE FADE, HEAD-ON). Born in Hamburg, Fatih wrote his first script at 18 during religion lessons, and after selling the screenplay a year later, he's been writing, directing, and producing films ever since. In addition to discussing his process as a filmmaker, we also learn what it's like to make movies within the German system. During our conversation about THE EDGE OF HEAVEN, Fatih reveals the extensive restructuring of the film's story in the edit, and while discussing IN THE FADE, Fatih reflects on the events that led to casting Diane Kruger in the film's lead role. Fatih's latest film, AMRUM, is based on the childhood memories of late director Hark Bohm, and we learn how Hark not only inspired Fatih to make movies in his hometown but also convinced him he was the right person to tell a story about the end of the Third Reich, set on a remote German island. Plus, Fatih reveals the influence of Bruce Lee's films and martial arts philosophy on his work. - Recommended Viewing: AMRUM, IN THE FADE, THE EDGE OF HEAVEN - This episode is sponsored by Picture Shop & Aputure

SEASON 2 - EPISODE 177 - James Slattery - Colourist In this extended episode of the Team Deakins Podcast, we speak with colourist James Slattery (THE LOST BUS, EMPIRE OF LIGHT, 1917). How does someone become a colourist? What do they really do? What is a CDL? DI? QC? DIT? P3? HDR? James, with whom we've worked with several times, graciously explains what all these acronyms (and more) mean, how a colourist generally goes about their work nowadays on any given project, and what he's able to do to help filmmakers solve problems and help realize their visions in the final stages of post-production. James has experience timing dailies and also applying the finishing grade, and he helps us explain the different responsibilities and expectations of each process. James later helps us provide an overview of the different types of deliverables for a film, and he shares some common mistakes young colorists today should avoid. Though the role of a colourist is technically and creatively demanding, James, throughout our conversation, stresses the importance of being able to work with others as a member of the team. - This episode is sponsored by Aputure

SEASON 2 - EPISODE 176 - Chris Lowe - Production Designer In this episode of the Team Deakins Podcast, we speak with production designer Chris Lowe (BOB MARLEY: ONE LOVE, THE LAST JEDI, IN BRUGES). We worked with Chris on SKYFALL, and we had a great time catching up with him. In addition to production design, Chris has had a long career as an art director, and he helps us understand how the two positions work together on any given project and what each one's responsibilities are. Throughout the episode, Chris also shares his strategies for communicating with directors and producers, creatively adapting to shifting budgets, and delegating duties to members of the art department. We also reflect on why and how the Shanghai skyscraper scene in SKYFALL pivoted from a location to a set, and Chris shares an episode of creative problem solving from THE LAST JEDI involving the Millennium Flacon, Yoda, and a tree. Plus, Chris reveals how he built Bangkok in Prague during the COVID-19 pandemic for THE GRAY MAN. - This episode is sponsored by Aputure