For Henry Lloyd-Hughes, shooting the scenes of “We Were the Lucky Ones” that take place in a Soviet gulag in Siberia were taxing to shoot but in “the right way” due to how it was shot. “All of those scenes, by and large, were shot chronologically, which meant that there was an intensity to that period of work for me that was physically challenging and mentally grueling, but in a way that I think was right for what we were trying to get across,” he describes to Gold Derby during our recent webchat (watch the exclusive video interview above). Those scenes also got a surprise boost from the weather in Romania in the form of an unexpected snowstorm. “They had set aside these cannons, like these hoses of snow to try and cover it to make it look like Siberia. Then two days to go and there’s a huge...
- 5/6/2024
- by Charles Bright
- Gold Derby
This post contains spoilers for "Stranger Things" season 4.
Season 4 of "Stranger Things" went to some wild places, especially with a new, tentacled threat looming over an already-doomed Hawkins. This particular season heightened the stakes like never before. This was the first time we saw the kids scattered across states, while adults like Jim Hopper (David Harbour) found themselves trapped in a Russian prison with no hope of escape in sight. With frequent deaths peppered across the course of nine episodes, there was a need to often change locales, which were mostly new and strange to suit the tone of the season -- such as the ominous Creel house and the abandoned shack Eddie Munson (Joseph Quinn) hid in after being suspected of murder.
While these interior sequences were comparatively easier to film, every scene involving water proved to be a menace for the camera and cinematography department. As the position...
Season 4 of "Stranger Things" went to some wild places, especially with a new, tentacled threat looming over an already-doomed Hawkins. This particular season heightened the stakes like never before. This was the first time we saw the kids scattered across states, while adults like Jim Hopper (David Harbour) found themselves trapped in a Russian prison with no hope of escape in sight. With frequent deaths peppered across the course of nine episodes, there was a need to often change locales, which were mostly new and strange to suit the tone of the season -- such as the ominous Creel house and the abandoned shack Eddie Munson (Joseph Quinn) hid in after being suspected of murder.
While these interior sequences were comparatively easier to film, every scene involving water proved to be a menace for the camera and cinematography department. As the position...
- 10/23/2023
- by Debopriyaa Dutta
- Slash Film
The story of “Are You There God? It’s Me, Margaret” remains as relevant to teens today as when the Judy Blume book came out in 1970. The story of a young girl navigating the first rocky steps into adolescence while changing schools and navigating her parents’ different religious backgrounds, what happens to Margaret (Abby Ryder Fortson) happens to lots of young girls, and Margaret’s yearning to just be happy and normal is universal.
“I think one of the magic tricks of the book is that anybody who reads it, in any decade, experiences it as contemporary,” director Kelly Fremon Craig told IndieWire. “When I read it in 1990, I had no idea it was written 20 years prior, so I was projecting all my own childhood images of the ’90s onto everything. And the book cover looked like it was contemporary, you know what I mean? So I had no idea [it was set in 1970].”
But...
“I think one of the magic tricks of the book is that anybody who reads it, in any decade, experiences it as contemporary,” director Kelly Fremon Craig told IndieWire. “When I read it in 1990, I had no idea it was written 20 years prior, so I was projecting all my own childhood images of the ’90s onto everything. And the book cover looked like it was contemporary, you know what I mean? So I had no idea [it was set in 1970].”
But...
- 4/28/2023
- by Sarah Shachat
- Indiewire
Like Judy Blume’s treasured young adult classic, Kelly Fremon Craig’s Are You There God? It’s Me, Margaret begins in 1970 with 11-year-old Margaret Simon (Abby Ryder Fortson) getting the worst news any New York City-raised child can get: her family is moving to New Jersey. It’s not only that Margaret will have to leave behind her wise-cracking grandmother Sylvia (Kathy Bates) or her friends or school, but that being 11 years old often means everything is the end of the world. The crushing despair that makes adolescence feel like a rueful eternity is Fremon Craig’s specialty.
For Blume devotees, this adaptation of the author’s hit novel is––take a breath––very faithful. Devoid of modern-day winkings, needling jokes, or overlong proselytizing, It’s Me, Margaret (for short) is mercifully for its target audience. That the script, also by Fremon Craig, better services Margaret’s parents Barbara...
For Blume devotees, this adaptation of the author’s hit novel is––take a breath––very faithful. Devoid of modern-day winkings, needling jokes, or overlong proselytizing, It’s Me, Margaret (for short) is mercifully for its target audience. That the script, also by Fremon Craig, better services Margaret’s parents Barbara...
- 4/20/2023
- by Fran Hoepfner
- The Film Stage
Ask any young woman about the book that changed their life and most will, in some form, mention Judy Blume’s 1970 novel “Are You There God? It’s Me, Margaret.” The story of an 11-year-old girl trying to navigate middle school and puberty has been the subject of banned book lists and was perceived as unfilmable — both because of Blume’s protectiveness over the material and the novel’s frank look at menstruation.
Director Kelly Fremon Craig is no stranger to young women in a state of transition, having helmed the equally wonderful “Edge of Seventeen” in 2016. Her take on “Are You There God” is filled with heart and isn’t afraid to talk about all the topics that made Blume’s novel so controversial. At times, the feature is jarring in how overt it discusses periods, bras, and tween girls’ desire to grow up too fast. Concurrently, it’s such a sweet,...
Director Kelly Fremon Craig is no stranger to young women in a state of transition, having helmed the equally wonderful “Edge of Seventeen” in 2016. Her take on “Are You There God” is filled with heart and isn’t afraid to talk about all the topics that made Blume’s novel so controversial. At times, the feature is jarring in how overt it discusses periods, bras, and tween girls’ desire to grow up too fast. Concurrently, it’s such a sweet,...
- 4/20/2023
- by Kristen Lopez
- The Wrap
Judy Blume never wanted her classic adolescent novel Are You There God? It’s Me, Margaret turned into a film. The beloved author received numerous calls from Hollywood executives over the years asking for her blessing (and the rights). “Not every book has to be a movie,” the author said recently. “I just didn’t think it would ever be done in the way that I would have felt proud of.”
She makes a fair point. Blume’s novel — a modest story of a sixth grader who, on the cusp of puberty, finds herself talking with God — endures because it offers readers solace during a famously uncertain time. Puberty happens to everyone, but amid newly sprouting pimples and peculiar body odors one can suddenly feel desperately alone. An adaptation would be too easy to botch, could too easily shatter the magic Blume so carefully conjured. So, the writer gently turned...
She makes a fair point. Blume’s novel — a modest story of a sixth grader who, on the cusp of puberty, finds herself talking with God — endures because it offers readers solace during a famously uncertain time. Puberty happens to everyone, but amid newly sprouting pimples and peculiar body odors one can suddenly feel desperately alone. An adaptation would be too easy to botch, could too easily shatter the magic Blume so carefully conjured. So, the writer gently turned...
- 4/20/2023
- by Lovia Gyarkye
- The Hollywood Reporter - Movie News
In the penultimate season of Stranger Things, the characters find themselves scattered beyond the small town confines of Hawkins, Indiana for the first time, spread out to different, countries and cliques. Winds of change swept into the camera department as well. After three seasons of Red cameras and Leica lenses, the latest batch of episodes employed the Alexa Lf paired with rehoused vintage 1960s glass. The cinematographers wielding those tools have changed too. With original series cinematographer Tim Ives not returning, Caleb Heymann shot seven of the nine episodes, sharing the season’s work with Brett Jutkiewicz (Scream and the upcoming […]
The post “They Referred to a Letter They’d Gotten from Spielberg”: Dp Caleb Heymann on Stranger Things‘s Season 4 first appeared on Filmmaker Magazine.
The post “They Referred to a Letter They’d Gotten from Spielberg”: Dp Caleb Heymann on Stranger Things‘s Season 4 first appeared on Filmmaker Magazine.
- 6/9/2022
- by Matt Mulcahey
- Filmmaker Magazine - Blog
In the penultimate season of Stranger Things, the characters find themselves scattered beyond the small town confines of Hawkins, Indiana for the first time, spread out to different, countries and cliques. Winds of change swept into the camera department as well. After three seasons of Red cameras and Leica lenses, the latest batch of episodes employed the Alexa Lf paired with rehoused vintage 1960s glass. The cinematographers wielding those tools have changed too. With original series cinematographer Tim Ives not returning, Caleb Heymann shot seven of the nine episodes, sharing the season’s work with Brett Jutkiewicz (Scream and the upcoming […]
The post “They Referred to a Letter They’d Gotten from Spielberg”: Dp Caleb Heymann on Stranger Things‘s Season 4 first appeared on Filmmaker Magazine.
The post “They Referred to a Letter They’d Gotten from Spielberg”: Dp Caleb Heymann on Stranger Things‘s Season 4 first appeared on Filmmaker Magazine.
- 6/9/2022
- by Matt Mulcahey
- Filmmaker Magazine-Director Interviews
“Dune” has been named the best-shot film of 2021 by the American Society of Cinematographers, which held its annual awards show on Sunday evening in Los Angeles.
Cinematographer Greig Fraser won the award over a field that included fellow Oscar nominees “The Power of the Dog,” “The Tragedy of Macbeth” and “Nightmare Alley,” as well as “Belfast.”
In the first 35 years of its existence, the ASC winner has gone on to take the Oscar for Best Cinematography less than half the time, although that percentage has improved recently. “Dune” is considered one of the front runners for this year’s cinematography Oscar, with Fraser seemingly in a close with Ari Wegner for “The Power of the Dog,” who could be the first woman ever to win in the category.
Other feature-film awards went to Jessica Beshir for “Faya Dayi” in the documentary category and Pat Scola for “Pig” in the spotlight category,...
Cinematographer Greig Fraser won the award over a field that included fellow Oscar nominees “The Power of the Dog,” “The Tragedy of Macbeth” and “Nightmare Alley,” as well as “Belfast.”
In the first 35 years of its existence, the ASC winner has gone on to take the Oscar for Best Cinematography less than half the time, although that percentage has improved recently. “Dune” is considered one of the front runners for this year’s cinematography Oscar, with Fraser seemingly in a close with Ari Wegner for “The Power of the Dog,” who could be the first woman ever to win in the category.
Other feature-film awards went to Jessica Beshir for “Faya Dayi” in the documentary category and Pat Scola for “Pig” in the spotlight category,...
- 3/21/2022
- by Steve Pond
- The Wrap
The American Society of Cinematographers on Tuesday unveiled nominations for its 36th annual ASC Awards, honoring the year’s best in feature film, documentary and television cinematography.
The society’s marquee Feature Film nominees include Bruno Delbonnel for The Tragedy of Macbeth, Greig Fraser for Dune, Dan Laustsen for Nightmare Alley, Ari Wegner for The Power of the Dog and Haris Zambarloukos for Belfast.
Last year, the ASC awarded Mank‘s Erik Messerschmidt with the Feature Film trophy, on his way to winning the Cinematography Oscar for the black-and-white film. This year, Belfast and Macbeth are also both black and white, along with for that matter Guillermo del Toro’s alt-version of Nightmare Alley.
The ASC film winner historically goes on to win the Oscar about half the time — 16 times in the past 35 years.
In TV, there were no repeats from last year’s shows on today’s list. Jon Joffin,...
The society’s marquee Feature Film nominees include Bruno Delbonnel for The Tragedy of Macbeth, Greig Fraser for Dune, Dan Laustsen for Nightmare Alley, Ari Wegner for The Power of the Dog and Haris Zambarloukos for Belfast.
Last year, the ASC awarded Mank‘s Erik Messerschmidt with the Feature Film trophy, on his way to winning the Cinematography Oscar for the black-and-white film. This year, Belfast and Macbeth are also both black and white, along with for that matter Guillermo del Toro’s alt-version of Nightmare Alley.
The ASC film winner historically goes on to win the Oscar about half the time — 16 times in the past 35 years.
In TV, there were no repeats from last year’s shows on today’s list. Jon Joffin,...
- 1/25/2022
- by Patrick Hipes
- Deadline Film + TV
“Dune,” “Belfast,” “Nightmare Alley,” “The Tragedy of Macbeth” and “The Power of the Dog” are among the films nominated by the American Society of Cinematographers in the feature film category.
The ASC nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking. Last year’s ASC feature film winner was “Mank” cinematographer Erik Messerschmidt who upset “Nomadland” Dp Joshua James Richards, the Oscar favorite. Messerschmidt went on to win the Best Cinematography Oscar.
Cinematographer Ari Wegner was nominated in the theatrical film category for her work on Netflix’s “The Power of the Dog,” becoming the second woman ever nominated by the guild, after Rachel Morrison for Dee Rees’ “Mudbound” (2017).
“Power of the Dog” director Jane Campion made history almost 30 years ago when she became the second woman ever to be nominated for best director for “The Piano” (1993) after Lina Wertmüller...
The ASC nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking. Last year’s ASC feature film winner was “Mank” cinematographer Erik Messerschmidt who upset “Nomadland” Dp Joshua James Richards, the Oscar favorite. Messerschmidt went on to win the Best Cinematography Oscar.
Cinematographer Ari Wegner was nominated in the theatrical film category for her work on Netflix’s “The Power of the Dog,” becoming the second woman ever nominated by the guild, after Rachel Morrison for Dee Rees’ “Mudbound” (2017).
“Power of the Dog” director Jane Campion made history almost 30 years ago when she became the second woman ever to be nominated for best director for “The Piano” (1993) after Lina Wertmüller...
- 1/25/2022
- by Jazz Tangcay and Clayton Davis
- Variety Film + TV
The limited series “Halston” premiered on May 14 of this year, but the period drama about the fashion icon of the same name was more than two decades in the making. Series director Daniel Minahan first read a biography of the famed designer in 1996 and felt that it needed a film treatment. After multiple failed attempts to bring the project to fruition, he teamed with Killer Films co-founder Christine Vachon and superstar producer Ryan Murphy and the series found a home on Netflix.
“Halston” stars Ewan McGregor in the title role. The Iowa- born Halston first came to prominence designing high-end hats for women. After one of his hats is worn by Jackie Kennedy, Halston becomes a giant in the fashion industry, creating everything from designer gowns, to luggage and even perfume. The series is set against the backdrop of the New York party scene of the 1970s, replete with cocaine-fueled...
“Halston” stars Ewan McGregor in the title role. The Iowa- born Halston first came to prominence designing high-end hats for women. After one of his hats is worn by Jackie Kennedy, Halston becomes a giant in the fashion industry, creating everything from designer gowns, to luggage and even perfume. The series is set against the backdrop of the New York party scene of the 1970s, replete with cocaine-fueled...
- 7/7/2021
- by Tony Ruiz
- Gold Derby
Cinematographers are among the most important people on a film or television set. After all, so much of the visuals rely on their interpretation of what the director wants and the execution of the overall artistic vision. But as cinematographer Tim Ives (“Halston”) says during the Gold Derby Meet the Experts: Cinematographers panel, there is a misconception about his job that needs some clearing up.
“I think people think I did it all myself that don’t really know this business,” he says. “Everything that’s put in front of the camera is done way before I get there. I contribute to it but I’m certainly not the only one who is putting this thing that looks great out there. It takes a whole crew of so many people to do it.”
Adds James Laxton (“The Underground Railroad”), “We get a lot of credit for other peoples’ work quite often.
“I think people think I did it all myself that don’t really know this business,” he says. “Everything that’s put in front of the camera is done way before I get there. I contribute to it but I’m certainly not the only one who is putting this thing that looks great out there. It takes a whole crew of so many people to do it.”
Adds James Laxton (“The Underground Railroad”), “We get a lot of credit for other peoples’ work quite often.
- 5/24/2021
- by Christopher Rosen
- Gold Derby
For the new Netflix series “Halston,” which tracks the life of the famed fashion designer of the title (played by Ewan McGregor in the show), cinematographer Tim Ives was faced with not just the daunting challenge of recreating 1970s New York landmarks like Studio 54, but doing it during a global pandemic.
“That was super tricky,” he says during the Gold Derby Meet the Experts: Cinematographers panel. “We filmed the whole thing during Covid. So one of the prerequisites that we were not allowed to use smoke. Because at the time nobody knew what the atmosphere was possibly going to make the situation worse or better — now we know a little bit more about it. I had to go into shooting that without atmosphere. Which you can imagine, Studio 54 with nobody smoking in it is insane.”
See Watch our Meet the Experts panels
To overcome the limitations, Ives relied on...
“That was super tricky,” he says during the Gold Derby Meet the Experts: Cinematographers panel. “We filmed the whole thing during Covid. So one of the prerequisites that we were not allowed to use smoke. Because at the time nobody knew what the atmosphere was possibly going to make the situation worse or better — now we know a little bit more about it. I had to go into shooting that without atmosphere. Which you can imagine, Studio 54 with nobody smoking in it is insane.”
See Watch our Meet the Experts panels
To overcome the limitations, Ives relied on...
- 5/24/2021
- by Christopher Rosen
- Gold Derby
Gold Derby’s special “Meet the Experts” series now presents single chats and a great group discussion with some of TV’s top cinematographers: Stuart Biddlecombe (‘Handmaid’s Tale’), Ben Richardson (‘Mare of Easttown’), Richard Vialet (‘P-Valley’), Tim Ives (‘Halston’) and James Laxton (‘Underground Railroad’). At first, our Creator and Digital Director Chris Rosen interviews them each one on one, then gathers them for a full, provocative group discussion.
- 5/18/2021
- by Tom O'Neil
- Gold Derby
Five top TV cinematographers will reveal secrets behind their projects when they join Gold Derby’s special “Meet the Btl Experts” Q&a event with key 2021 guild and Emmy contenders this month. Each person will participate in two video discussions to premiere on Monday, May 17, at 5:00 p.m. Pt; 8:00 p.m. Et. We’ll have a one-on-one with our senior editor Christopher Rosen and a group chat with Christopher and all of the group together.
RSVP today to this specific event by clicking here to book your reservation. Or click here to RSVP for our entire ongoing panel series. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Btl Experts” panel welcomes the following 2021 guild and Emmy contenders:
“Halston”: Tim Ives
Ives was a two-time Emmy nominee for “Stranger Things.” Other projects have included “Fosse/Verdon,” “Girls” and “House of Cards.
RSVP today to this specific event by clicking here to book your reservation. Or click here to RSVP for our entire ongoing panel series. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Btl Experts” panel welcomes the following 2021 guild and Emmy contenders:
“Halston”: Tim Ives
Ives was a two-time Emmy nominee for “Stranger Things.” Other projects have included “Fosse/Verdon,” “Girls” and “House of Cards.
- 5/6/2021
- by Chris Beachum and Christopher Rosen
- Gold Derby
Tim Ives, the director of photography of Stranger Things, has said that the nighttime photography of Gregory Crewdson has “inspired me with its heightened reality.” Eric Messerschmidt, the Dp of Mindhunter and a former assistant of Crewdson’s, has stated that the artist’s work “lives right on the edge between reality and surrealism.” A number of observers have noted that the look of Ozark can often feel like a Crewsdon photo. And Dark co-creator Jantje Friese has said that the landscape of the show was partly inspired by Crewdson’s oeuvre: “He does this photography of suburbia where you have these really wide shots where,...
- 9/29/2020
- The Hollywood Reporter - Movie News
Tim Ives, the director of photography of Stranger Things, has said that the nighttime photography of Gregory Crewdson has “inspired me with its heightened reality.” Eric Messerschmidt, the Dp of Mindhunter and a former assistant of Crewdson’s, has stated that the artist’s work “lives right on the edge between reality and surrealism.” A number of observers have noted that the look of Ozark can often feel like a Crewsdon photo. And Dark co-creator Jantje Friese has said that the landscape of the show was partly inspired by Crewdson’s oeuvre: “He does this photography of suburbia where you have these really wide shots where,...
- 9/29/2020
- The Hollywood Reporter - Film + TV
The making of one of filmmaker Bob Fosse’s early triumphs, the sizzling “Big Spender” sequence from the 1969 musical “Sweet Charity,” kicks off the opening moments of the first episode of FX’s bio-limited series “Fosse/Verdon” in the same sultry style for which the legendary director-choreographer was known. It juxtaposes the film’s dancers in a sinuous, sexy lead-up to the memorable performance, intercutting with similar, rhythmic verve through the on-set process of the perfectionist Fosse (Sam Rockwell), bolstered by canny course corrections conjured by his wife and muse, actress-dancer Gwen Verdon (Michelle Williams).
Thomas Kail
Director
“We’re teasing the audience before we give them what they really want, which is the number, unvarnished and uncut. We started shooting the dance sequence first and just realized that these dancers, the set, hair, makeup, wardrobe were so on point that we ended up covering it from as many angles as...
Thomas Kail
Director
“We’re teasing the audience before we give them what they really want, which is the number, unvarnished and uncut. We started shooting the dance sequence first and just realized that these dancers, the set, hair, makeup, wardrobe were so on point that we ended up covering it from as many angles as...
- 6/6/2019
- by Scott Huver
- Variety Film + TV
“Fosse/Verdon” magnificently kicks off in Episode 1 (“Life is a Cabaret”) with Bob Fosse (Sam Rockwell) struggling to shoot his Oscar-winning “Cabaret” in Germany, with his wife and muse, Gwen Verdon (Michelle Williams), coming to the rescue to release his creative spirit. It reveals that tricky yet synergistic partnership that defined the uncompromising Fosse vision, with Liza Minnelli’s Sally Bowles (Kelli Barrett) and the dancers perfecting the iconic “Mein Herr” number in the dark and smoky Kit Kat Klub.
“The way the [‘Cabaret’] musical is constructed it’s unusual because the numbers are performed at the club,” said Alex Digerlando, the production designer who also worked on the visually inventive “Maniac.” “We looked at behind the scenes featurettes, and from what we could tell, even though it was shot on a soundstage, it didn’t seem that walls were pulled. From what we understood, Bob wanted it to be...
“The way the [‘Cabaret’] musical is constructed it’s unusual because the numbers are performed at the club,” said Alex Digerlando, the production designer who also worked on the visually inventive “Maniac.” “We looked at behind the scenes featurettes, and from what we could tell, even though it was shot on a soundstage, it didn’t seem that walls were pulled. From what we understood, Bob wanted it to be...
- 5/10/2019
- by Bill Desowitz
- Indiewire
Chris Longo Jan 16, 2019
Syfy's adaptation of Rick Remender's Deadly Class puts its young stars front and center.
Benedict Wong clears his throat and gathers a stern voice deep from within. “Have A Seat,” he commands, gesturing me toward a leather bound chair opposite the desk of Master Lin, the headmaster of King’s Dominion, the training academy for assassins in Deadly Class. He sits, leans back in his chair, and immediately slips out of character. I can tell because I begin our interview by tinkering with every prop on the desk, and Master Lin would have cracked me across the face with his cane for showing that kind of blatant disrespect. Lucky for me, Wong doesn’t have a mean bone in his body, and he’s encouraging a closer look at the props while he descends into the curt origins of accepting top billing on the new Syfy series.
Syfy's adaptation of Rick Remender's Deadly Class puts its young stars front and center.
Benedict Wong clears his throat and gathers a stern voice deep from within. “Have A Seat,” he commands, gesturing me toward a leather bound chair opposite the desk of Master Lin, the headmaster of King’s Dominion, the training academy for assassins in Deadly Class. He sits, leans back in his chair, and immediately slips out of character. I can tell because I begin our interview by tinkering with every prop on the desk, and Master Lin would have cracked me across the face with his cane for showing that kind of blatant disrespect. Lucky for me, Wong doesn’t have a mean bone in his body, and he’s encouraging a closer look at the props while he descends into the curt origins of accepting top billing on the new Syfy series.
- 1/15/2019
- Den of Geek
Building on the first season’s gloom and doom, “Stranger Things” returned for an even creepier second season, thanks to the introduction of the Shadow Monster baddie and its shape-shifting Demogorgon minions.
This meant that the show’s VFX had to raise the bar with greater use of CG characters (Hydraulx) and a mind blowing cavern (Atomic Fiction) for the Emmy-nominated finale (“Chapter Nine: The Gate”).
Read More: ‘Stranger Things’: Hawkins Gets More Colorful and the Upside Down Grows Darker in Season Two
“This season they wanted more characters, so the Duffer brothers wanted the visual effects to be more polished [and gross],” said Paul Graff, senior visual effects supervisor. The volcanic lightning storm that introduces the giant, spider-like Shadow Monster (also referred to as the Mind Flayer) sets the chilling tone for the return of a more menacing Upside Down.
But most of the heavy lifting involved the CG Dart...
This meant that the show’s VFX had to raise the bar with greater use of CG characters (Hydraulx) and a mind blowing cavern (Atomic Fiction) for the Emmy-nominated finale (“Chapter Nine: The Gate”).
Read More: ‘Stranger Things’: Hawkins Gets More Colorful and the Upside Down Grows Darker in Season Two
“This season they wanted more characters, so the Duffer brothers wanted the visual effects to be more polished [and gross],” said Paul Graff, senior visual effects supervisor. The volcanic lightning storm that introduces the giant, spider-like Shadow Monster (also referred to as the Mind Flayer) sets the chilling tone for the return of a more menacing Upside Down.
But most of the heavy lifting involved the CG Dart...
- 8/24/2018
- by Bill Desowitz
- Indiewire
We've got almost a year to wait before we get to see any new Stranger Things episodes with Season 3. At least Netflix and the creative team behind the series are trying to keep us entertained with some behind-the-scenes featurettes.
This latest video focuses on the the cinematography that gives the show that retro nostalgic look that they want to achieve. The video features footage from the series along with interviews with the Duffer Brothers, Shawn Levy, and director of photography Tim Ives, who also worked on shows such as Mr. Robot and House of Cards.
They explain that they wanted to give Stranger Things the same visual vibe as E.T., The Goonies, Stand By Me, and a few other films that inspired the supernatural series. ...
This latest video focuses on the the cinematography that gives the show that retro nostalgic look that they want to achieve. The video features footage from the series along with interviews with the Duffer Brothers, Shawn Levy, and director of photography Tim Ives, who also worked on shows such as Mr. Robot and House of Cards.
They explain that they wanted to give Stranger Things the same visual vibe as E.T., The Goonies, Stand By Me, and a few other films that inspired the supernatural series. ...
- 8/22/2018
- by Joey Paur
- GeekTyrant
As the small town Hawkins continued to be invaded by the Upside Down in Season Two of “Stranger Things,” the Duffer Brothers lightened the tension for most of the imperiled kids. As a result, the lighting became darker as well as more colorful.
“We wanted to play more to the fun side of ‘Stranger Things,” said cinematographer Tim Ives, who was nominated for his second consecutive Emmy for “Chapter One: Madmax.” “It’s got scary moments but within 10 seconds you might be laughing pretty hard, so we added a little more color saturation to the palette.
“We also did a lot of interesting camera moves, starting something wide and coming close, going from a master to an extreme close-up, really introducing one character to another. We progressed naturally and with more confidence.”
In Season Two, Will (Noah Schnapp) gets possessed by an Upside Down monster known as a Mind Flayer,...
“We wanted to play more to the fun side of ‘Stranger Things,” said cinematographer Tim Ives, who was nominated for his second consecutive Emmy for “Chapter One: Madmax.” “It’s got scary moments but within 10 seconds you might be laughing pretty hard, so we added a little more color saturation to the palette.
“We also did a lot of interesting camera moves, starting something wide and coming close, going from a master to an extreme close-up, really introducing one character to another. We progressed naturally and with more confidence.”
In Season Two, Will (Noah Schnapp) gets possessed by an Upside Down monster known as a Mind Flayer,...
- 7/26/2018
- by Bill Desowitz
- Indiewire
The Upside Down of “Stranger Things” became an apt metaphor for this divisive year, and, maybe not so strangely, “Stranger Things,” along with several other Best Drama Emmy contenders, offered unifying themes to combat the forces of oppression, hate, and turmoil.
These included “Westworld,” “The Crown,” “The Handmaid’s Tale,” “Feud: Bette and Joan,” and “Big Little Lies.” And, not surprisingly, they all offered stellar craftsmanship in support of their unifying themes.
“The Crown”
Showrunner Peter Morgan told IndieWire that his biggest takeaway has been the realization of the necessary bond between the monarchy and Parliament. “Sometimes the monarchy screws up and sometimes the politicians screw up,” he said. “And it takes one or the other to fix the problem.”
In Season 1, that unity is forged between young Queen Elizabeth II (nominated Claire Foy) and that old war horse, Prime Minister Winston Churchill (nominated John Lithgow). Together, they help Great...
These included “Westworld,” “The Crown,” “The Handmaid’s Tale,” “Feud: Bette and Joan,” and “Big Little Lies.” And, not surprisingly, they all offered stellar craftsmanship in support of their unifying themes.
“The Crown”
Showrunner Peter Morgan told IndieWire that his biggest takeaway has been the realization of the necessary bond between the monarchy and Parliament. “Sometimes the monarchy screws up and sometimes the politicians screw up,” he said. “And it takes one or the other to fix the problem.”
In Season 1, that unity is forged between young Queen Elizabeth II (nominated Claire Foy) and that old war horse, Prime Minister Winston Churchill (nominated John Lithgow). Together, they help Great...
- 8/28/2017
- by Bill Desowitz
- Indiewire
Shooting the Mr. Robot pilot and the bulk of Stranger Things—projects he’s shared with fellow nominee Tod Campbell—cinematographer Tim Ives has received his first Emmy nomination for his work on the Duffer Brothers’ blockbuster Netflix drama. Looking at reference materials for Stranger Things, Ives found a project that spoke to his own sensibilities and the Amblin classics he loves. While it’s common for fans to latch on strongly to actors and the characters they play, it…...
- 8/26/2017
- Deadline TV
IndieWire reached out to the cinematographers who received Emmy nominations for Outstanding Cinematography for a Single-Camera Series (One Hour), Single-Camera Series (Half-Hour), and Limited Series or Movie. We asked them which camera and lenses they used and why they were the right tools to achieve their show’s unique look.
Read More:Cannes 2017: Here Are the Cameras Used To Shoot 29 of This Year’s Films Cinematography for a Single-Camera Series (One Hour)
The nominees for outstanding cinematography in this category are Adriano Goldman (“The Crown”), Colin Watkinson (“The Handmaid’s Tale”), James Hawkinson (“The Man in the High Castle”), Tod Campbell (Mr. Robot”), John Toll (“Sense8”), Tim Ives (“Stranger Things”) and Paul Cameron (“Westworld”).
Last Year’s Winner: James Hawkinson for “The Man in the High Castle”
“The Crown”
Cameras: Sony F55s
Lens: Old Cooke Panchros rehoused by Tls UK
Dp Adriano Goldman: “Netflix requires a 4K workflow,...
Read More:Cannes 2017: Here Are the Cameras Used To Shoot 29 of This Year’s Films Cinematography for a Single-Camera Series (One Hour)
The nominees for outstanding cinematography in this category are Adriano Goldman (“The Crown”), Colin Watkinson (“The Handmaid’s Tale”), James Hawkinson (“The Man in the High Castle”), Tod Campbell (Mr. Robot”), John Toll (“Sense8”), Tim Ives (“Stranger Things”) and Paul Cameron (“Westworld”).
Last Year’s Winner: James Hawkinson for “The Man in the High Castle”
“The Crown”
Cameras: Sony F55s
Lens: Old Cooke Panchros rehoused by Tls UK
Dp Adriano Goldman: “Netflix requires a 4K workflow,...
- 8/22/2017
- by Chris O'Falt
- Indiewire
This year’s one-hour series Emmy contenders for cinematography are marked by some bold sci-fi and dystopian disruptors: “Westworld,” “Stranger Things,” “The Handmaid’s Tale,” “The Man in the High Castle” (last year’s winner), “Mr. Robot, and Sense8.” With dazzling visuals, they explored the impact of tyranny and hate, of societies turned upside down, struggling for a greater humanity.
That leaves “The Crown” as the lone historical drama. But it too was a disruptor of sorts in the way that it showcased the symbiotic relationship between the monarchy and Parliament in post-war Great Britain, steered by the young Queen Elizabeth (nominated Claire Foy) and the old warhorse, Winston Churchill (nominated John Lithgow).
But don’t be surprised if it comes down to a race between the dueling dystopias: “Westworld” and “The Handmaid’s Tale.”
“Westworld”
The clash of two worlds envisioned by showrunners Jonathan Nolan and Lisa Joy, the...
That leaves “The Crown” as the lone historical drama. But it too was a disruptor of sorts in the way that it showcased the symbiotic relationship between the monarchy and Parliament in post-war Great Britain, steered by the young Queen Elizabeth (nominated Claire Foy) and the old warhorse, Winston Churchill (nominated John Lithgow).
But don’t be surprised if it comes down to a race between the dueling dystopias: “Westworld” and “The Handmaid’s Tale.”
“Westworld”
The clash of two worlds envisioned by showrunners Jonathan Nolan and Lisa Joy, the...
- 8/15/2017
- by Bill Desowitz
- Indiewire
Apparently the TV Academy will only go so far in honoring sci-fi when it comes to the below-the-line craft nominations. While HBO’s “Westworld” and Netflix’s “Stranger Things” deservedly snagged 12 and 11 noms, respectively, FX’s “Legion” was totally shut out. That’s right: Noah Hawley’s mind-blowing Marvel superhero deconstruction didn’t get recognition for either Michael Wylie’s eye-popping production design or Dana Gonzales’s experimental cinematography. Perhaps it was too subversive for its own good.
“Westworld” Rules
With HBO’s “Game of Thrones” out of the running this season, the void was filled by the brilliant re-imagining of Michael Crichton’s adult theme park. Jonathan Nolan and Lisa Joy wisely took a more graphic and philosophical approach to A.I. The brutal sex and violence definitely tapped a cultural nerve.
It’s about beauty and ugliness in this collision of sci-fi and the western. Paul Cameron’s...
“Westworld” Rules
With HBO’s “Game of Thrones” out of the running this season, the void was filled by the brilliant re-imagining of Michael Crichton’s adult theme park. Jonathan Nolan and Lisa Joy wisely took a more graphic and philosophical approach to A.I. The brutal sex and violence definitely tapped a cultural nerve.
It’s about beauty and ugliness in this collision of sci-fi and the western. Paul Cameron’s...
- 7/13/2017
- by Bill Desowitz
- Indiewire
Awards Daily TV talks to Stranger Things cinematographer Tim Ives about creating the vintage 1980s look and feel for the Emmy®-buzzed series. Like looking back at old photograph albums,...
- 6/21/2017
- by Robin Write
- AwardsDaily.com
“The success of the show has been overwhelming to all of us,” exclaims “Stranger Things” cinematographer Tim Ives during our recent webcam chat (watch the exclusive video above). “We felt like it was something very, very special, but you can never predict the sort of success we’ve had on this show.” Created by Matt and Ross Duffer (credited as the Duffer […]...
- 6/17/2017
- by Chris Beachum
- Gold Derby
Netflix’s “Stranger Things” from the Duffer Brothers unmasks the dark side of the ’80s, and its nightmarish Upside Down also represents the perfect allegory for Trump’s America, too. Everything gets unhinged when a monster invades from another dimension and kidnaps youngsters. It’s Spielberg meets King meets Kubrick.
Creating the Town of Hawkins
For the fictional town of Hawkins, Indiana, the Duffers shot in Atlanta, which still retains its mid-20th century sense of suburbia. “We weren’t making a slick, glossy version of the ’80s, but, rather, a gritty, textural feeling that is lost in high-definition movie-making these days,” said production designer Chris Trujillo.
For the central Byers house, the art department built a set with the right “lived in” look. It contained strategically interconnecting rooms, and set dressing from estate sale pillaging.
Cinematographer Tim Ives, meanwhile, took his cues from “E.T.,” using the Red Dragon and...
Creating the Town of Hawkins
For the fictional town of Hawkins, Indiana, the Duffers shot in Atlanta, which still retains its mid-20th century sense of suburbia. “We weren’t making a slick, glossy version of the ’80s, but, rather, a gritty, textural feeling that is lost in high-definition movie-making these days,” said production designer Chris Trujillo.
For the central Byers house, the art department built a set with the right “lived in” look. It contained strategically interconnecting rooms, and set dressing from estate sale pillaging.
Cinematographer Tim Ives, meanwhile, took his cues from “E.T.,” using the Red Dragon and...
- 6/13/2017
- by Bill Desowitz
- Indiewire
Sci-Fi and Comic Book Shows Are Getting Serious Awards Attention: How Bold DPs are Changing the Race
Call them the Dp disruptors: “Legion,” “Stranger Things,” “Westworld,” “The Handmaid’s Tale,” and “Taboo.” It’s one thing to be for cinematography to be cinematic, but quite another to provoke. Here’s a look at the cinematography that was used to explore the impacts of tyranny and hate, of societies turned upside down and against humanity.
“Legion”
After re-imagining “Fargo” as a nightmarish crime anthology, Noah Hawley stripped the superhero iconography out of Marvel’s “Legion” by concentrating on schizophrenia and paranoia. Dan Stevens’ troubled mutant, David Haller, proves to be an unreliable narrator, unable to grasp the difference between reality and imagination, who meets the girl of his dreams (Rachel Keller) in a mental hospital and discovers that his psychological instability is a result of special telepathic power.
Cinematographer Dana Gonzales (“Fargo”) liked a story that demanded a shift from naturalistic to heightened. “And there’s a love...
“Legion”
After re-imagining “Fargo” as a nightmarish crime anthology, Noah Hawley stripped the superhero iconography out of Marvel’s “Legion” by concentrating on schizophrenia and paranoia. Dan Stevens’ troubled mutant, David Haller, proves to be an unreliable narrator, unable to grasp the difference between reality and imagination, who meets the girl of his dreams (Rachel Keller) in a mental hospital and discovers that his psychological instability is a result of special telepathic power.
Cinematographer Dana Gonzales (“Fargo”) liked a story that demanded a shift from naturalistic to heightened. “And there’s a love...
- 5/26/2017
- by Bill Desowitz
- Indiewire
A new week brings three new episodes.
This week is maybe the best yet over at One Perfect Pod, our podcasting channel, and features a pair of reviews of the hottest film in the land, a look back at one of the most beloved films of the 21st century, and an exploration of the success of Beauty and the Beast (the new one).
First up, the latest episode of Matthew Monagle’s After the Credits, podcasting’s only before-and-after review show. This week the film up for discussion is — what else? — The Fate of the Furious, and Matthew’s guest is film critic Erin Whitney. Find out where they land on what many are already calling the most polarizing film yet from the eight-film franchise.
Then there’s this week’s Shot by Shot podcast, the official cinematography podcast of One Perfect Shot and Film School Rejects. This go-around Geoff Todd, Ops...
This week is maybe the best yet over at One Perfect Pod, our podcasting channel, and features a pair of reviews of the hottest film in the land, a look back at one of the most beloved films of the 21st century, and an exploration of the success of Beauty and the Beast (the new one).
First up, the latest episode of Matthew Monagle’s After the Credits, podcasting’s only before-and-after review show. This week the film up for discussion is — what else? — The Fate of the Furious, and Matthew’s guest is film critic Erin Whitney. Find out where they land on what many are already calling the most polarizing film yet from the eight-film franchise.
Then there’s this week’s Shot by Shot podcast, the official cinematography podcast of One Perfect Shot and Film School Rejects. This go-around Geoff Todd, Ops...
- 4/17/2017
- by H. Perry Horton
- FilmSchoolRejects.com
2017-04-07T06:58:35-07:00'Stranger Things' Season 2 Production Winding Down
It may not be released until Halloween, but TV fans are already buzzing about the second season of Stranger Things. In fact, people have been talking up the sophomore season since the first debuted last summer.
It's hard to wait for the new episodes to finally premiere on Netflix. Today however, season two got one step closer to becoming a reality.
Tim Ives, director of multiple episodes of the series, has announced that filming has started on the new season's final two episodes.
Ives posted a picture of this director's chair on Instagram, in front of the woods outside of Hawkins, Indiana. In the post he announced that he was beginning the filming process on episodes eight and nine.
With that in mind, there's probably only a couple more weeks left in terms of filming season two.
It may not be released until Halloween, but TV fans are already buzzing about the second season of Stranger Things. In fact, people have been talking up the sophomore season since the first debuted last summer.
It's hard to wait for the new episodes to finally premiere on Netflix. Today however, season two got one step closer to becoming a reality.
Tim Ives, director of multiple episodes of the series, has announced that filming has started on the new season's final two episodes.
Ives posted a picture of this director's chair on Instagram, in front of the woods outside of Hawkins, Indiana. In the post he announced that he was beginning the filming process on episodes eight and nine.
With that in mind, there's probably only a couple more weeks left in terms of filming season two.
- 4/7/2017
- by EG
- Yidio
I had no idea going into the new Netflix original series "House of Cards" it was only the first season. I assumed, since the BBC original it was based on was only twelve episodes long, and the fact it was based on Michael Dobbs' 1989 novel, a 13-episode arc would cover the entirety of the story. So, as the minutes ticked away in the final episode I kept thinking to myself, "How are they going to wrap this up in the next ten... nine... eight... seven minutes?" The answer, obviously, is they didn't and I'd be lying if the result wasn't a bit of a letdown as the drama in the latter moments wasn't as intriguing as the political back-stabbing that led up to it, but the overall enjoyment level was quite high regardless. Involving the dirty dealings of backroom politics, the series was developed by playwright Beau Willimon ("The Ides of March...
- 2/4/2013
- by Brad Brevet
- Rope of Silicon
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