Tag Archives: Iain Blair

Showrunner and EP Peter Gould on AMC’s Better Call Saul

By Iain Blair

Having a legal issue? Thinking of calling someone who has a questionable relationship with the rule of law? Jimmy McGill? Saul Goodman? Or, maybe, Gene, the lonely Cinnabon store manager? The slippery, shady, shape-shifting character — played beautifully by multiple Emmy-nominee Bob Odenkirk — is at the heart of Better Call Saul, the spin-off prequel to AMC’s Breaking Bad. But if you want to know what’s going on under the hood of the show, you better call writer/showrunner Peter Gould.

L-R: Peter Gould and Vince Gilligan

A Sony Pictures Television and AMC Studios co-production, Better Call Saul is executive produced by co-creators Gould and Vince Gilligan, as well as Mark Johnson (Breaking Bad, Diner, Rain Man), Melissa Bernstein (Breaking Bad, Rectify, Halt and Catch Fire) and Breaking Bad alums Thomas Schnauz and Gennifer Hutchison. The show recently won a Peabody Award in the Entertainment category and has racked up wins and nominations from pretty much every organization that hands them out, including Primetime Emmys, Golden Globes, SAG, AFI and the WGA.

For those of you who are champing at the bit for a new season this summer, you must be patient. The new season isn’t set to premiere until 2020, so maybe binge watch some Saul or even Breaking Bad to get you through!

I recently spoke with Gould about making the show and the latest on the Breaking Bad movie.

Do you enjoy being a showrunner?
I love it. In my opinion it’s the greatest job in show business. It’s a privilege to get to work with all the people on this, and it’s a fantastic situation. If the show falls short I only have myself to blame, as the cast and crew are all extraordinary.

What are the big challenges of showrunning Better Call Saul?
The number one challenge is always figuring out the story and how to tell the story in the most interesting and engaging way… while being as true as possible to the characters we’ve created, and then how to create the most cinematic experience that we can. By that, I mean using every tool we have available in production and post.

How far along are you Season 5?
Today we’re shooting the last day of Episode 3. Episode 4 starts next week, and we’re breaking the last episode, which is number 10.  We’re also in the middle of cutting the first three episodes, so there’s a lot going on.

What can fans expect? Will we see more of Gene Takovic, the man Jimmy McGill becomes after he becomes Saul Goodman?
I think it’s safe to say that we’re very interested in Gene. There’s a lot more to be said about him, and fans can expect that. One of the fun things about Gene is that his scenes are in black-and-white, so it gives us a very different space to play in visually.

Why such a long wait from season four until five airs next year?
There’s a lot of moving parts, and we do our best each season to craft the best show we can. So the time is actually spent more in the writing than in the production or post, which are more predictable in terms of schedules. Then there’s the matter of scheduling with the network and other outlets. But I think it’s about the same, month to month. It takes us about 14 months to do a season from start to finish; that seems to be how it works on this. I’m not proud of that, as there are a lot of other TV shows that make a lot more episodes in a lot less time, but we can’t seem to do it much faster and keep up the high quality we all aim for.

Are you still shooting in Albuquerque?
Absolutely. That setting and all the locations are a very important part of the show.

Where do you post, and do you like the post process?
I love working on all the post, and I work closely with our post EP Diane Mercer and the people at our post facility, Keep Me Posted, which is our partner and part of Fotokem in Burbank. We do the audio mix at Wildtracks in Hollywood. Phillip Palmer does our production sound mixing, and Kevin Valentine and Larry Benjamin do all our re-recording mixing. They’re just the best there is.

Talk about editing. You have several editors, I assume because of the time factor. How does that work?
Our editors — Skip Macdonald and Chris McCaleb — cut the show here at our LA offices, where we also have our writers’ room. So at the start of a season, it’s very quiet because nothing much is happening there, but once production starts, every part of our offices are very busy. Then once the writers go home, all the post comes in and it’s really bustling.

What are the big editing challenges?
We have a very big cast and a lot of moving pieces in each episode. Plus there are a lot of time jumps, so we alternate with the editors. So this year Skip is on the odds and Chris is on the evens. They do their cuts and then the directors come in to do their cut. As they’re so heavily booked these days, some of them end up giving notes remotely, and we use Pix to distribute our cuts and dailies.

One of the eccentricities of the way this show’s evolved — and it’s really based on the way Vince Gilligan ran Breaking Bad, and where I learned everything I know about showrunning — is that we don’t really do a producer’s cut until fairly late in the process. There are cuts of pretty much every episode before we close production, but we don’t fully address post until after production has closed, especially on a season like number three.

When I direct the season finale, that creates a big hole in the production schedule, and as soon as I get back we start working on the producer’s cut. Generally, I’ll give notes on the director’s cut and editor’s cut, and the editors will execute those on their own. Then I’ll end up spending about a week with the editor on each episode. Usually, the writer and maybe another producer will sit in too. And often an EP like Tom Schnauz will sit in as he has a great eye for editing, and we’ll do the producer’s cut together in that week.

You mention directing a few of the shows. Do you like directing?
I do, but I find it very stressful. I haven’t done it enough of it to lower my stress level, but I find it very creative. I think it’s very useful for the show to have a showrunner come and direct and episode now and again, as it keeps my humility level going as directing is a hard battle. It’s wonderful to be able to work with the cast and crew in such a hands-on way.

Peter Gould (center) on set

I’ve always loved every aspect of filmmaking, and I’m fascinated by it all — from the chip sensors we use to the dollies, lights and so on. I have such respect for the craft and artistry of everyone making the show, and what I’ve learned about directing is that success or failure is about the situation you’re in as much as it is about your own talent. This is a great situation.

This show has a great score, and great sound design. Where do you mix and talk about the importance of sound and music.
Nick Forshager is our sound supervisor over at Wildtracks. I’m pretty involved in all the sound, but we do things a bit different from most shows. For a start, we use almost no temp music on the cuts, for various reasons. One, it can be a bit of a crutch, and second, you get used to it, so anything new then sounds strange. We’ve trained ourselves to cut without it, and our composer Dave Porter is brilliant at spotting where music can be useful and where it’s not necessary. So we spend time spotting each episode and talk a lot about the music and sound, and I believe sound and music are the way to get to an audience’s emotion by bypassing the logical brain.

You can really enhance the drama and clue-in the audience on how to read a scene through sound design and ambient shifts. I can’t tell you how often we’ve had a scene that sort of played okay, but which just came alive when we found the right sound. There’s a great example of that in a scene at the end of Season 1 where Jimmy’s running the bingo game, and he has this nervous breakdown. We kept making the speakers worse and worse, and added some delay and we had the pops in the mic when he got too close — and it went from being a really interesting scene to one that was funnier, more public and more psychological. So we put in so much detail and it really pays off.

Where do you do the grading, and who’s the colorist?
It’s all done at Keep Me Posted and our colorist is Ted Brady. You asked earlier why it all takes so long, and one big reason is that I’m at every producer’s color session. Our DP Marshall Adams is usually there too, and we’ll go through the whole show together. It takes about a day to do one episode and make sure we’re happy with the look.

It definitely has a different look from Breaking Bad, and even from season to season.
You’re right. That was shot on film, and it was a very different process in post. Now we’re shooting digitally, there’s almost too many possibilities. We also switched cameras this season, from Reds to an ARRI LF, and it has a different look from the Red. And we began shooting night exteriors on Season Three with the Panasonic VariCam, which gave us a very interesting look — neither filmic nor digital. The other thing is that as the characters evolve and change, it just made sense to change the look too.

How long do you see the show running?
Great question! This is a show with a beginning, middle and end, and I can say we’re closer to the end than the beginning. I just hope we can stick the ending the way Vince stuck it on Breaking Bad.

What’s the latest on the Breaking Bad movie?
You tell me! Vince knows.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

All Is True director Kenneth Branagh

By Iain Blair

Five-time Oscar-nominee Ken Branagh might be the biggest Shakespeare fan in the business. In fact, it’s probably fair to say that the actor/director/producer/screenwriter largely owes his fame and fortune to the Bard. For the past 30 years he’s directed (and often starred in) dozens of theatrical productions, as well as feature film adaptations of Shakespeare’s works, starting with 1989’s Henry V. That film won him two Oscar nominations: Best Actor and Best Director. He followed that with Much Ado About Nothing, Othello, Hamlet (which won him a Best Adapted Screenplay Oscar nod), Love’s Labour’s Lost and As You Like It.

Ken Branagh and Iain Blair

So it was probably only a matter of time before the Irish star jumped at the chance to play Shakespeare himself in the new film All Is True, a fictionalized look at the final years of the playwright. Set in 1613, Shakespeare is acknowledged as the greatest writer of the age, but disaster strikes when his renowned Globe Theatre burns to the ground. Devastated, Shakespeare returns to Stratford, where he must face a troubled past and a neglected family — wife Anne (Judi Dench) and two daughters, Susanna (Lydia Wilson) and Judith (Kathryn Wilder). The large ensemble cast also includes Ian McKellen as the Earl of Southampton.

I sat down with Branagh — whose credits include directing such non-Shakespeare movies as Thor, Cinderella and Murder on the Orient Express and acting in Dunkirk and Harry Potter and the Chamber of Secrets — to talk about about making the film and his workflow.

You’ve played many of Shakespeare’s characters in film or on stage. Was it a dream come true to finally play the man himself, or was it intimidating?
It was a dream come true, as I feel like he’s been a guide and mentor since I discovered him at school. And, rather like a dog, he’s given me unconditional love ever since. So I was happy to return some. It’s easy to forget that he was just a guy. He was amazing and a genius, but first and foremost he was a human being.

What kind of film did you hope to make?
A chamber piece, a character piece that took him out of his normal environment. I didn’t want it to be the predictable romp inside a theater, full of backstage bitching and all that sort of theatricality. I wanted to take him away from that and put him back in the place he was from, and I also wanted to load the front part of the movie with silence instead of tons of dialogue.

How close do you feel it gets to the reality of his final years?
I think it’s very truthful about Stratford. It was a very litigious society, and some of the scenes — like the one where John Lane stands up in church and makes very public accusations — all happened. His son Hamnet’s death was unexplained, and Shakespeare did seem to be very insecure in some areas. He wanted money and success and he lived in a very volatile world. If he was supposed to be this returning hero coming back to the big house and a warm welcome from his family, whom he hadn’t seen much of the past two decades, it didn’t quite happen that way. No, he was this absentee dad and husband, and the town had an ambivalent relationship with him; it wasn’t a peaceful retirement at all.

The film is visually gorgeous, and all the candlelit scenes reminded me of Barry Lyndon.
I’m so glad you said that as DP Zac Nicholson and I were partly inspired by that film and that look, and we used only candlelight and no additional lights for those scenes. Painters, like Vermeer and Rembrandt, were our inspiration for all the day and night scenes, respectively.

Clint Eastwood told me, “Don’t ever direct and star in a movie unless you’re a sucker for punishment — it’s just too hard.” So how hard was it?
(Laughs) He’s right. It is very hard, and a lot of work, but it’s also a big privilege. But I had a lot of great help — the crew and people like Judi and Ian. They had great suggestions and you listen to every tidbit they have to offer. I don’t know how Clint does it, but I do a lot of listening and stealing. The directing and acting are so interlinked to me, and I love directing as I get to watch Ian and Judi work, and they’re such hard workers. Judi literally gets to the set before anyone else, and she’s pacing up and down and getting ready to defend Anne Hathaway. She has this huge empathy for her characters which you feel so much, and here she was giving voice to a woman who could not read or write.

Where did you post?
We were based at Longcross Studios, where we did Murder on the Orient Express and the upcoming Artemis Fowl. We did most of it there, and then we ended up at The Post Republic, which has places in London and Berlin, to do the final finishing. Then we did all the final mixing at Twickenham with the great re-recording mixer Andy Nelson and his team. It was my second picture with Andy Nelson as the rerecording mixer. I am completely present throughout and I am completely involved in the final mix.

Do you like the post process?
I love it. It’s the place where I understood, right from my first film, that it could make — in terms of performance — a good one bad, a good one great, a bad one much better. The power of change in post is just amazing to me, and realizing that anything is possible if you have the imagination. So the way you juxtapose the images you’ve collected — and the way a scene from the third act might actually work better in the first act — is so huge in post. That fluidity was a revelation to me, and you can have these tremendous eureka moments in post that can be beautiful and so inspiring.

Can you talk about working with editor Una Ni Dhongaile, who cut The Crown and won a BAFTA for Three Girls?
She’s terrific. She wasn’t on the set but we talked a lot during the shoot. I like her because she really has an opinion. She’s definitely not a “yes” person, but she’s also very sensitive. She also gets very involved with the characters and protects you as a director. She won’t let you cut too soon or too deep, and she encourages you to take a moment to think about stuff. She’s one of those editors who has this special kind of intuition about what the film needs, in addition to all her technical skills and intellectual understanding of what’s going on.

What were the big editing challenges?
After doing a lot of very long takes we used the very best, and despite using a very painterly style we didn’t make the film feel too static. We didn’t want to falsely or artificially cut to just affect the pace, but allow it to flow naturally so every minute was earned. We also didn’t want to feel afraid of holding a particular shot for a long time. We definitely needed pauses and rests, and Shakespeare is musical in his poetry and the way he juxtaposes fast and slow moments. So all those decisions were critical and needed mulling as well as executing.

Talk about the importance of sound and music, as it’s a very quiet film.
It’s absolutely critical in a world like this where light and sound play huge roles and are so utterly different to our own modern understanding of it. The aural and audio space you can offer an audience for this was a big chance to adventure back in time, when the world was far more sparsely populated. Especially in a little place like Stratford; silence played a big role as well. You’re offering a hint of the outside world and the aural landscape is really the bedrock for all the introspection and thoughtfulness this movie deals with.

Patrick Doyle’s music has this gossamer approach — that was the word we used. It was like a breath, so that the whole sound experience invited the audience into the meditative world of Shakespeare. We wanted them to feel the seasons pass, the wind in the trees, and how much more was going on than just the man thinking about his past. It was the experience of returning home and being with this family again, so you’d hear a creak of a chair and it would interrupt his thoughts. So we worked hard on every little detail like that.

Where did you do the grading and coloring?
Post Republic in their North London facility, and again, I’m involved every step of the way.

Did making this film change your views about Shakespeare the man?
Yes, and it was an evolving thing. I’ve always been drawn to his flawed humanity, so it seemed real to be placing this man in normal situations and have him be right out of his comfort zone at the start of the film. So you have this acclaimed, feted and busy playwright, actor, producer and stage manager suddenly back on the dark side of the moon, which Stratford was back then. It was a small town, a three-day trip from London, and it must have been a shock. It was candlelight and recrimination. But I think he was a man without pomp. His colleagues most often described him as modest and gentle, so I felt a vulnerability that surprised me. I think that’s authentic to the man.

What’s next for you?
Disney’s Artemis Fowl, the fantasy-adventure based on the books, which will be released on May 29, and then I start directing Death on the Nile for Fox, which starts shooting late summer.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Showrunner: Eric Newman of Netflix’s Narcos: Mexico

By Iain Blair

Much like the drugs that form the dark heart of Narcos: Mexico, the hit Netflix crime drama is full of danger, chills and thrills — and is highly addictive. It explores the origins of the modern, ultra-violent drug war by going back to its roots, beginning at a time when the Mexican trafficking world was a loose and disorganized confederation of independent growers and dealers. But that all changed with the rise of the Guadalajara Cartel in the 1980s as Félix Gallardo (Diego Luna) — the real-life former Sinaloan police-officer-turned-drug lord — takes the helm, unifying traffickers in order to build an empire.

L-R: Director José Padilha and producer Chris Brancato bookend Eric Newman on the set of Narcos, Season 1.

The show also follows DEA agent Kiki Camarena (Michael Peña), who moves his wife and young son from California to Guadalajara to take on a new post. He quickly learns that his assignment will be more challenging than he ever could have imagined. As Kiki garners intelligence on Félix and becomes more entangled in his mission, a tragic chain of events unfold, affecting the drug trade and the war against it for years to come.

Narcos showrunner, writer and executive producer Eric Newman is a film and television veteran whose resume includes the Academy Award-nominated Children of Men, as well as The Dawn of the Dead, The Last Exorcism and Bright. After over 20 years in the movie industry, Newman transitioned into television as an executive producer on Hemlock Grove for Netflix. It was his curiosity about the international drug trade that led him to develop and executive produce his passion project Narcos, and Newman assumed showrunning responsibilities at the end of its first season. Narcos: Mexico initially started out as the fourth season of Narcos before Netflix decided to make it a stand-alone series.

I recently spoke with Newman about making the show, his involvement in post and another war that’s grabbed a lot of headlines — the one between streaming platforms and traditional cinema.

Do you like being a showrunner?
Yeah! There are aspects of it I really love. I began toward the end of the first season and there was this brief period where I tried not to be the showrunner, even though it was my show. I wasn’t really a writer — I wasn’t in the WGA — so I had a lot of collaborators, but I still felt alone in the driver’s seat. It’s a huge amount of work, from the writing to the shoot and then post, and it never really ends. It’s exhausting but incredibly rewarding.

What are the big challenges of running this show?
If I’d known more about TV at the time, I might have been far more frightened than I was (laughs).The big one is dealing with all the people and personalities involved. We have anywhere between 200 and 400 people working on the show at any given time, so it’s tricky. But I love working with actors, I think I’m a good listener, and any major problems are usually human-oriented. And then there’s all the logistics and moving parts. We began the series shooting in Colombia and then moved the whole thing to Mexico, so that was a big challenge. But the cast and crew are so great, we’re like a big family at this point, and it runs pretty smoothly now.

How far along are you with the second season of Narcos: Mexico?
We’re well into it, and while it’s called Season Two, the reality for us is that it’s the fifth season of a long, hard slog.

This show obviously deals with a lot of locations. How difficult is it when you shoot in Mexico?
It can be hard and grueling. We’re shooting entirely in Mexico — nothing in the States. We shot in Colombia for three years and we went to Panama once, and now we’re all over Mexico — from Mexico City to Jalisco, Puerto Vallarta, Guadalajara, Durango and so on.

It’s also very dangerous subject matter, and one of your location scouts was murdered. Do you worry about your safety?
That was a terrible incident, and I’m not sure whoever shot him even knew he was a location scout on our show. The reality is that a number of incredibly brave journalists, who had nowhere near the protection we have, had already shared these stories — and many were killed for it. So in many ways we’re late to the party.

Of course, you have to be careful anywhere you go, but that’s true of every city. You can find trouble in LA or New York if you are in the wrong place. I don’t worry about the traffickers we depict, as they’re mainly all dead now or in jail, and they seem OK with the way they’re depicted… that it’s pretty truthful. I worry a little bit more about the police and politicians.

Where do you post and do you like the post process?
I absolutely love post, and I think it’s a deeply underrated and under-appreciated aspect of the show. We’ve pulled off far more miracles in post than in any of the writing and shooting. We do all the post at Lantana in LA with the same great team that we’ve had from the start, including post producer Tim King and associate post producer Tanner King.

When we began the series in Colombia, we were told that Netflix didn’t feel comfortable having the footage down there for editing because of piracy issues, and that worked for me. I like coming back to edit and then going back down to Mexico to shoot. We shoot two episodes at a time and cut two at a time. I’m in the middle of doing fixes on Episode 2 and we’re about to lock Episode 3.

Talk about editing. You have several editors, I assume because of the time factor. How does that work?
We have four full-time editors — Iain Erskine, Garret Donnelly, Monty DeGraff and Jon Otazua — who each take separate episodes, plus we have one editor dedicated to the archival package, which is a big part of the show. We’ve also promoted two assistant editors, which I’m very proud of. That’s a nice part of being on a show that’s run for five years; you can watch people grow and move them up the ladder.

You have a huge cast and a lot of moving pieces in each episode. What are the big editing challenges?
We have a fair amount of coverage to sort through, and it’s always about telling the story and the pacing — finding the right rhythm for each scene.

This show has a great score and great sound design. Where do you mix, and can you talk about the importance of sound and music?
We do all the mixing at Technicolor, and we have a great team that includes supervising sound editor Randle Akerson and supervising ADR editor Thomas Whiting. (The team also includes sound effects editors Dino R. DiMuro and Troy Prehmus, dialogue editor David Padilla, music editor Chris Tergesen, re-recording mixers Pete Elia and Kevin Roache and ADR mixer Judah Getz.)

It’s all so crucial. All you have to do is look at a rough edit without any sound of music and it’s just so depressing. I come from a family of composers, so I really appreciate this part of post, and composer Gustavo Santaolalla has done a fantastic job, and the music’s changed a bit since we moved to Mexico. I’m fairly involved with all of it. I get a final playback and maybe I’ll have a few notes, but generally the team has got it right.

In 2017, you formed Screen Arcade with producer Bryan Unkeless, a production company based at Netflix with deals for features and television. I heard you have a new movie you’re producing for Netflix, PWR with Jamie Foxx and Joseph Gordon-Levitt?
It’s all shot, and we’re just headed into the Director’s Cut. We’re posting in New York and have our editorial offices there. Netflix is so great to partner with. They care as much about the quality of image and sound as any studio I’ve ever worked with — and I’ve worked with everyone. In terms of the whole process and deliverables, there’s no difference.

It’s interesting because there’s been a lot of pushback against Netflix and other streaming platforms from the studios, purists and directors like Steven Spielberg. Where do you see the war for cinema’s future going?
I think it’ll be driven entirely by audience viewing habits, as it should be. Some of my all-time favorite movies — The Bridge on the River Kwai, Taxi Driver, Sunset Boulevard, Barry Lyndon — weren’t viewed in a movie house.

Cinema exhibition is a business. They want Black Panther and Star Wars, so it’s a commerce argument not a creative one. With all due respect to Spielberg, no one can dictate viewing habits, and maybe for now they can deny Netflix and streaming platforms Academy awards, but not forever.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Idris Elba and Gary Reich talk about creating Netflix’s Turn Up Charlie

By Iain Blair

Idris Elba has always excelled at playing uber-cool, uber-controlled characters — often villains and troubled souls, such as drug lord Stringer Bell on HBO’s The Wire, detective John Luther on the BBC’s Luther, and the war lord in the harrowing feature film Beasts of No Nation. No wonder everyone thinks he’d be perfect as the next uber-sexy Bond.

But there’s another, hidden side to the charismatic star. The actor has long been heavily involved in post production. Additionally, he moonlights as a DJ, the inspiration for his new Netflix show Turn Up Charlie. He trashes his super-cool image by starring as the titular Charlie, a decidedly uncool, struggling DJ and eternal bachelor, who finally gets a shot at success when he reluctantly becomes a “manny” to his famous best friend’s problem-child daughter.

The show also serves as a showcase for Elba’s self-described “nerdy” side behind the camera, his love of producing and his hands-on involvement in every aspect of post. The eight-part series is co-produced by Elba’s Green Door Pictures and Gary Reich’s Brown Eyed Boy Productions, with Elba and Reich serving as executive producers alongside Tristram Shapeero, who directs the series with Matt Lipsey.

And in a serious show of support for the show and its star, Netflix (which for the first time beat HBO in Emmy noms last year) officially launched an Emmy “For Your Consideration” campaign, with a screening and panel discussion featuring Elba.

Prior to the event, I spoke with the Emmy- and Golden Globe-nominated Elba (whose credits also include the Avengers and Thor franchises, American Gangster, Star Trek Beyond, Mandela: Long Walk to Freedom, The Office and The Jungle Book) about his latest project, his real-life moonlighting gig as a DJ, his love of post and his upcoming role in Cats. We also spoke with his Turn Up Charlie co-creator Reich.

Let’s talk about post production on the show. How involved are you, considering you’re also starring and co-producing?
Idris Elba: We did it at The Farm in London, and I’m pretty involved in every aspect of post, though I’m not sitting in the edit suite all day long looking at every frame. But I really love the whole process, especially editing and, of course, the sound and music because of my background as a DJ. So I’ll be there checking the edits and how it’s being put together.

Then I’ll be there for all the sound mix stuff and also for the final grade, which I love too. I’m super-nerdy in that way, and I find it very satisfying to be involved in post. For most actors, post is this whole hidden, secret world that you never see or get involved in, but I’ve always been fascinated by how it all comes together… how you can manipulate a performance or the sound to totally change a scene and how it works and affects the audience. It’s really the most creative part of making a TV show or a movie, and hopefully I’ll be more and more involved in it all.

People think of you as an actor first and foremost, but you’ve been involved in producing and post for quite a while.
Elba: Yeah, I’ve always been interested in it, learning stuff as I go, and watching directors and how post works. When I directed my first film, Yardie, a couple of years ago, it was a real education, and I loved every minute of it — being involved in all the editing and working on all the elements that go into the sound mix and music. I’ve been involved in production with a lot of the shows I’ve done, like Luther and Five by Five and now this one, and I really enjoy it.

Gary, any surprises working with Idris? And what was the schedule like?
Gary Reich: For someone so busy across so many different mediums, it was amazing how he was always able to give 100% in the moment. He’s like a powerful lighthouse — when he shines on you and your production, you get a dazzling 150% of him. As a co-executive producer, he was involved across many surprisingly small details, as well as the larger picture. We edited at The Farm, and the offline was what you’d expect — a week for each half-hour episode. The music was extremely complex, so once the pictures were locked, there was a long process of auditioning tracks.

Who edited, and what were the main challenges?
Reich: Gary Dollner edited block 1 (Episodes 1-4) with the block 1 director, Tristram Shapeero. Pete Drinkwater edited block 2 (Episodes 5-8) with the block 2 director, Matt Lipsey. The main challenges were that Idris wanted us to approach the edit like a DJ, where the rhythm of each episode’s scene-to-scene transitions would be similar to what a DJ achieves mixing between tracks. Luckily, our editors more than rose to that challenge.

Talk about the importance of sound and music for you and Idris on this. Where did you mix?
Reich: We also mixed at The Farm. Sound and music were extremely key to the show as it is, after all, a show about, created by and scored by a DJ. The score was composed by DJ James Lavelle, so Idris and he had various meetings in the edit where it was clear they spoke the same language. It was important to Idris that the character themes were all electronic rather than acoustic, even the very emotional beats. James and his team adapted accordingly, and we have some amazing new sounds in the show.

Also, one of the key series arcs was a track that Idris’ character Charlie had had a big one-off hit with in the ’90s, that then gets remixed across three episodes by our female Calvin Harris character, played by Piper Perabo, and then gets dropped at the Latitude Festival. It was key that we were authentic, as we showed the track coming together at different stages across different scenes. The mix was all done at The Farm.

I noticed some VFX credits. What was involved, who did them?
Reich: We had a lot of mobile phone and some Skype screens that needed shots compositing in, and some posters too, as well as needing to build a nightclub onto the back of a beach bar. They were all done by The Farm.

Who was the colorist and what was involved?
Reich: Perry Gibbs was the colorist. Because we shot on anamorphic lenses, but also had to use the Red cameras in order to meet certain Netflix technical requirements, there were challenges in the grade, but they were worth it, as the end result was particularly deep.

Idris, Charlie is a major U-turn from your usual self-assured characters. You co-created this show with Gary for yourself, so is this actually the real you?
Elba: (Laughs). Yeah, it is the closest to the real me. I’m not anything like Luther or the other characters I’m best known for. I’m closer to Charlie than anything else. I really wanted to show what the real world of DJs is like, and we spent a lot of time in post working on the music. But the truth is, no one really cares about what DJs go through as long as the music’s good, so I needed to add some heart and other elements to it, and it gradually became more about parenting and all those challenges. I’m a parent, so I brought all those experiences and stories to it and merged the two worlds. It ended up being a bit about the world of music and a lot about people.

Many people probably don’t know that you actually started out as a DJ in London before you got into acting.
Elba: Right, and partly thanks to this, I seem to be getting a lot more exposure for my DJ’ing these days, especially after doing “the wedding” [Elba was asked by Prince Harry to DJ at his wedding to Meghan Markle], and now I’ll be DJ’ing at Coachella, and then I’m doing the Electric Daisy Carnival in Vegas and some other gigs. So if the acting thing falls apart, I’m all set!

DJ’ing was really my first love, and by the time I was 13, 14, I was DJ’ing for house parties and whatnot, and then I met my drama teacher, and DJ’ing went out the window. But the truth is, I kept DJ’ing alongside my acting career, and I just love doing it. It grounds me, and I love music. What I chose not to do is market my DJ’ing as part of my acting career, but recently it’s become this crazy crossroads of all this stuff happening, what with this show and Coachella and so on. It all looks like a brilliant marketing plan, but it’s not. I’m just not that clever!

When you get back to London, you’ll keep filming Tom Hooper’s movie adaptation of Andrew Lloyd Webber’s Cats, which is due out later this year. What can you tell us about it?
Elba: I can’t reveal too much, but it’s going great. I get to play another villain, Macavity, which is always fun for me. Tom’s got a really interesting look and take on it, and he’s assembled this amazing cast: Taylor Swift, who I got on great with, and Jennifer Hudson and James Corden. He’s so funny. And Ian McKellen. It’s going to be pretty special.

Aren’t you playing another villain in Hobbs & Shaw, the Fast & Furious spinoff due out in August?
Elba: Yeah, I play Brixton Lore, this cyber-enhanced criminal mastermind who’s going at it with Dwayne Johnson and Jason Statham. Director David Leitch did Atomic Blonde and Deadpool 2, and we did some really wild stuff. I’m really excited about it. It’s been a busy year.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

The Kominsky Method‘s post brain trust: Ross Cavanaugh and Ethan Henderson

By Iain Blair

As Bette Davis famously said, “Old age ain’t no place for sissies!” But Netflix’s The Kominsky Method proves that in the hands of veteran sitcom creator Chuck Lorre — The Big Bang Theory, Two and a Half Men and many others — there’s plenty of laughs to be mined from old age… and disease, loneliness and incontinence.

The show stars Michael Douglas as divorced, has-been actor and respected acting coach Sandy Kominsky and Alan Arkin as his longtime agent Norman Newlander. The story follows these bickering best friends as they tackle life’s inevitable curveballs while navigating their later years in Los Angeles, a city that values youth and beauty above all. Both comedic and emotional, The Kominsky Method won Douglas a Golden Globe.

Ethan Henderson and Ross Cavanaugh

The single-camera show is written by Al Higgins, David Javerbaum and Lorre, who also directed the first episode. Lorre, Higgins and Douglas executive produce the series, which is produced by Chuck Lorre Productions in association with Warner Bros. Television.

I recently spoke with associate producer Ross Cavanaugh and post coordinator Ethan Henderson about posting the show.

You are currently working on Season 2?
Ross Cavanaugh: Yes, and we’re moving along quite quickly. We’re already about three-quarters of the way through the season shooting-wise, out of the eight-show arc.

Where do you shoot, and what’s the schedule like?
Cavanaugh: We shoot mainly on the lot at Warner Bros. and then at various locations around LA. We start prepping each show one week before we start shooting, and then we get dailies the day after the first shooting day.

Our dailies lab is Picture Shop, which is right up the street in Burbank and very convenient for us. So getting footage from the set to them is quick, and they’re very fast at turning the dailies around. We usually get them by midnight the same day we drop them off,  then our editors start cutting fairly quickly after that.

Where do you do all the post?
Cavanaugh: Mainly at Picture Shop, who are very experienced in TV post work. They do all the post finishing and some of the VFX stuff — usually the smaller things, like beauty fixes and cleanup. They also do all the final color correction since DP Anette Haellmigk really wanted to work with colorist George Manno. They’ve been really great.

Ethan Henderson: We’re back and forth from the lot to Picture Shop, and once we get more heavily involved in all the post, I spend a lot of time there while we are onlining the show, coloring and doing the VFX drop-ins, and when we start the final deliverables process, since everything for Netflix comes out of there.

What are the big challenges of post production on this show, and how closely do you work with Chuck Lorre?
Cavanaugh: As with any TV show, you’re always on a very tight deadline, and there are a lot of moving parts to deal with very quickly. While our prolific showrunner Chuck Lorre is busy with all the projects he has going — especially with all the writing — he always makes time for us. He’s very passionate about the cut and is extremely on top of things.

I’d say the challenges on this show are actually fairly minimal. Basically, we ran a pretty tight ship on the first season, and now I’d say it’s a well-oiled machine. We haven’t had any big problems or surprises in post, which can happen.

Let’s talk about editing. You had two editors for Season 1 in Matthew Barbato and Gina Sansom. I assume that’s because of the time factor. How does that work?
Cavanaugh: Each editor has their own assistant editor — that was true in Season One (Matthew with Jack Cunningham and Gina with Barb Steele) and in Season two (Steven Lang with Romeo Rubio and Gina with Rahul Das). They cut separately and work on an odds-and-evens schedule, each doing every other episode. We all get together to watch screenings of the Director’s Cut, usually in the editorial bay.

What are the big editing challenges?
Cavanaugh: We have a pretty big cast, and there’s a ton of jokes and stuff going on all the time. In addition to Michael Douglas and Alan Arkin, the actors are so experienced. They give such great performances — there’s a lot of material for the editors to cut from. To be honest, the scripts are all so tight that I think one of the challenges is knowing when to cut out a joke, to serve the pacing of an episode.

This isn’t a VFX-driven show, but there are some visual effects shots. Can you explain?
Cavanaugh: We do a lot of driving scenes and use 24frame.com, who have this really good wraparound HD projection technology, so we pretty much shoot all our car scenes on the stage.

Henderson: Once in a while, we’ll pick up some exterior or establishing shots on a freeway using doubles in the cars. All the plates are picked ahead of time. Occasionally, for the sake of continuity, we’ll have to replace a plate in the background and put a different section of the plate in because too many cars ran by, and it didn’t match up in the edit.

That’s one of the things that comes up every so often. The other big thing is that both of the leads wear glasses, so reflections of crew and equipment can become an issue; we have to deal with all that and clean it up.

Cavanaugh: We don’t use many big VFX shots, and we can’t reveal much about what happens in the new season, but sometimes there’s stuff like the scene in season one where one of the characters threw some firecrackers at Michael Douglas’ feet. We obviously weren’t going to throw real ones at Michael Douglas, although I think he’d have sucked it up if we’d done it that way! We were shooting in a residential neighborhood at night and we couldn’t set off real ones because they are very loud, so we ended up doing it all with VFX. FuseFx handled the workload for the heavier VFX work.

Henderson: There was a big shot in the pilot where we did a lot of shot extensions in a restaurant where Sandy Kominsky (Douglas) and Nancy Travis’ character are having coffee. It was this big sweeping pan down over the city.

Can you talk about the importance of sound and music?
Cavanaugh: They both play a key role, and we have a great team that includes music editor Joe Deveau, supervising sound editor Lou Thomas, and sound mixers Yuri Reese and Bill Smith. The sound recording quality we get on set is always great, so that means we only need very minimal ADR. The whole sound mix is done here on the lot at Warners.

Our composer, Jeff Cardoni, worked with Chuck on Young Sheldon, and he’s really on top of getting all the new cues for the show. We basically have two versions of our main title sequence music cues — one is very bombastic and in-your-face, and the other is a bit more subtle — and it’s funny how it broke down in the first season. The guy who cut the pilot and the odd episodes went with the more bombastic version, while the second editor on the even episodes preferred the softer cues, so I’ll be curious to see how all that breaks down in the new season.

How important is all the coloring on this?
Cavanaugh: Very important. After we do all the online, we ship it over to George at Picture Shop and spend about a day and a half on it. The DP either comes in or gets a file, and she gives her notes. Then we’ll play it for Chuck. We’re in the HDR world with Dolby Vision, and it makes it look so beautiful — but then we have to do the standard pass on it as well.

I know you can’t reveal too much about the new season, but what can fans expect?
Henderson: They’re getting a continuation of these two characters’ journey together — growing old and everything that comes with that. I think it feels like a very natural extension of the first season.

Cavanaugh: In terms of the post process, I feel like we’re a Swiss watch now. We’re ticking along very smoothly. Sometimes post can be a nightmare and full of problems, so it’s great to have it all under control.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

DP Tom Curran on Netflix’s Tidying Up With Marie Kondo

By Iain Blair

Forget all the trendy shows about updating your home décor or renovating your house. What you really need to do is declutter. And the guru of decluttering is Marie Kondo, the Japanese star of the hot Netflix show Tidying Up With Marie Kondo.

The organizational expert became a global star when her first book, 2014’s “The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing,” was translated into English, becoming a New York Times bestseller. Her follow-up was 2016’s “Spark Joy: An Illustrated Master Class on the Art of Organizing and Tidying Up.”

Tom Curran

Clearly, people everywhere need to declutter, and Kondo’s KonMari Method is the answer for those who have too much stuff. As she herself puts it, “My mission is to organize the world and spark joy in people’s lives. Through this partnership with Netflix, I am excited to spread the KonMari Method to as many people as possible.”

I recently spoke with Tom Curran, the cinematographer of the Kondo show. His extensive credits include Ugly Delicious for Netflix, Fish My City for National Geographic and 9 Months for Facebook, which is hosted by Courteney Cox. Curran has an Emmy on his mantle for ABC Sports’ Iditarod Sled Dog Race.

Let’s start with the really important stuff. Do you have too much clutter? Has Marie’s philosophy helped you?
(Laughs). It has! I think we all have too much stuff. To be honest, I was a little skeptical at first about all this. But as I spent time with her and educated myself, I began to realize just how much there is to it. I think that it particularly applies to the US, where we all have so much and move so quickly.

In her world, you come to a pause and evaluate all of that, and it’s really quite powerful. And if you follow all of her steps, you can’t do it quickly. It forces you to slow down and take stock. My wife is an editor, and we’re both always so busy, but now we take little pockets of time to attack different parts of the house and the clutter we have. It’s been really powerful and helpful to us.

Why do you think her method and this show have resonated so much with people everywhere?
Americans tend to get so busy and locked into routines, and Japan’s culture is very different. I’ve worked there quite a bit, and she brings this whole other quality to the show. She’s very thoughtful and kind. I think the show does a good job of showing that, and you really feel it. An awful lot of current TV can be a little sharp and mean, and there’s something old-fashioned about this, and audiences really respond. She doesn’t pass judgment on people’s messy houses — she just wants to help.

You’re well-known for shooting in extreme conditions and locations all over the world. How did this compare?
It was radically different in some ways. Instead of vast and bleak landscapes, like Antarctica, you’re shooting the interiors of people’s homes in LA. Working with EP Hend Baghdady and showrunner Bianca Barnes-Williams, we set out to redefine how to showcase these homes. We used some of the same principles, like how to incorporate these characters into their environment and weave the house into the storyline. That was our main goal.

What were the challenges of shooting this show?
A big one was keeping ourselves out of the shot, which isn’t so easy in a small space. Also, keeping Marie central to all the storytelling. I’ve done several series before, shooting in people’s homes, like Little People, Big World, where we stayed in one family’s home for many years. With this show the crew was walking into their homes for a far shorter time, and none of them were actors. The were baring their souls.

Cleaning up all their clutter before we arrived was contrary to what the show’s all about, so you’re seeing all the ugly. My background’s in cinéma vérité, and a lot of this was stripping back the way these types of unscripted shows are usually done — with multiple cameras. We did use multiple cameras, but often it was just one, as you’re in a tiny room, where there’s no space for another, and we’re shooting wide since the main character in most stories was the home.

As well as being a DP you’re also the owner of Curran Camera, Inc. Did you supply all the camera gear for this through your company?
Sometimes I supply equipment for a series, sometimes not. It all depends on what the project needs. On this, when Hend, Bianca and I began discussing different camera options, I felt it wasn’t a series we could shoot on prime lenses, but we wanted the look that primes would bring. We ended up working with Fujinon Cabrio Cine Zooms and Canon cameras, which gave us a really filmic look, and we got most of our gear from T-stop Camera Rentals in LA. In fact, the Fujinon Cabrio 14-35mm became the centerpiece of the storytelling in the homes because of its wide lens capture — which was crucial for scenes with closets and small rooms and so on.

I assume all the lighting was a big challenge?
You’re right. It was a massive undertaking because we wanted to follow all the progress in each home. And we didn’t want it to be a dingy, rough-looking show, especially since Marie represented this bright light that’d come into people’s homes and then it would get brighter and brighter. We ended up bringing in all the lighting from the east coast, which was the only place I could source what I needed.

For Marie’s Zen house we had a different lighting package with dozens of small fresnels because it was so calm and stood still. For the homes and all the movement, we used about 80 Flex lights — paper-thin LED lights that are easily dimmable and quick to install and take down. Even though we had a pretty small crew, we were able to achieve a pretty consistent look.

How did the workflow operate? How did you deal with dailies?
Our post supervisor Joe Eckardt was pretty terrific, and I’d spend a lot of time going through all the dailies and then give a big download to the crew once a week. We had six to eight camera operators and three crews with two cameras and additional people some days. We had so much footage, and what ended up on screen is just a fraction of what we shot. We had a lot of cards at the end of every day, and they’d be loaded into the post system, and then a team of 16 editors would start going through it all.  Since this was the first season, we were kind of doing it on the fly and trying different techniques to see what worked best.

Color correction and the mix was handled by Margarita Mix. How involved were you in post and the look of the show?
I was very involved, especially early on. Even in the first month or so we started to work on the grade a bit to get some patterns in place; that helped carry us through. We set out to capture a really naturalistic look, and a lot of the homes were very cramped, so we had to keep the wrong lighting look looking wrong, so to speak. I’m pretty happy with what we were able to do. (Margarita Mix’s Troy Smith was the colorist.)

How important is post to you as a DP?
It’s hard to overstate. I’d say it’s not just a big piece of the process, it is the process. When we’re shooting, I only really think about three things; One, what is the story we’re trying to tell? Two, how can we best capture that, particularly with non-actors. How do you create an environment of complete trust where they basically just forget about you? How do we capture Marie doing her thing and not break the flow, since she’s this standup performer? Three, how do we give post what they need? If we’re not giving editorial the right coverage, we’re not doing our job. That last one is the most important to me — since I’m married to an editor, I’m always so aware of post.

The first eight shows aired in January. When is the next season?
We’ve had some light talks about it, and I assume since it’s so popular we’ll do more, but nothing’s finalized yet. I hope we do more.  I love this show.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Catching up with Aquaman director James Wan

By Iain Blair

Director James Wan has become one of the biggest names in Hollywood thanks to the $1.5 billion-grossing Fast & Furious 7, as well as the Saw, Conjuring and Insidious films — three of the most successful horror franchises of the last decade.

Now the Malaysian-born, Australian-raised Wan, who also writes and produces, has taken on the challenge of bringing Aquaman and Atlantis to life. The origin story of half-surface dweller, half-Atlantean Arthur Curry stars Jason Momoa in the title role. Amber Heard plays Mera, a fierce warrior and Aquaman’s ally throughout his journey.

James Wan and Iain Blair

Additional cast includes Willem Dafoe as Vulko, council to the Atlantean throne; Patrick Wilson as Orm, the present King of Atlantis; Dolph Lundgren as Nereus, King of the Atlantean tribe Xebel; Yahya Abdul-Mateen II as the revenge-seeking Manta; and Nicole Kidman as Arthur’s mom, Atlanna.

Wan’s team behind the scenes included such collaborators as Oscar-nominated director of photography Don Burgess (Forrest Gump), his five-time editor Kirk Morri (The Conjuring), production designer Bill Brzeski (Iron Man 3), visual effects supervisor Kelvin McIlwain (Furious 7) and composer Rupert Gregson-Williams (Wonder Woman).

I spoke with the director about making the film, dealing with all the effects, and his workflow.

Aquaman is definitely not your usual superhero. What was the appeal of doing it? 
I didn’t grow up with Aquaman, but I grew up with other comic books, and I always was well aware of him as he’s iconic. A big part of the appeal for me was he’d never really been done before — not on the big screen and not really on TV. He’s never had the spotlight before. The other big clincher was this gave me the opportunity to do a world-creation film, to build a unique world we’ve never seen before. I loved the idea of creating this big fantasy world underwater.

What sort of film did you set out to make?
Something that was really faithful and respectful to the source material, as I loved the world of the comic book once I dove in. I realized how amazing this world is and how interesting Aquaman is. He’s bi-racial, half-Atlantean, half-human, and he feels he doesn’t really fit in anywhere at the start of the film. But by the end, he realizes he’s the best of both worlds and he embraces that. I loved that. I also loved the fact it takes place in the ocean so I could bring in issues like the environment and how we treat the sea, so I felt it had a lot of very cool things going for it — quite apart from all the great visuals I could picture.

Obviously, you never got the Jim Cameron post-Titanic memo — never, ever shoot in water.
(Laughs) I know, but to do this we unfortunately had to get really wet as over 2/3rds of the film is set underwater. The crazy irony of all this is when people are underwater they don’t look wet. It’s only when you come out of the sea or pool that you’re glossy and dripping.

We did a lot of R&D early on, and decided that shooting underwater looking wet wasn’t the right look anyway, plus they’re superhuman and are able to move in water really fast, like fish, so we adopted the dry-for-wet technique. We used a lot of special rigs for the actors, along with bluescreen, and then combined all that with a ton of VFX for the hair and costumes. Hair is always a big problem underwater, as like clothing it behaves very differently, so we had to do a huge amount of work in post in those areas.

How early on did you start integrating post and all the VFX?
It’s that kind of movie where you have to start post and all the VFX almost before you start production. We did so much prep, just designing all the worlds and figuring out how they’d look, and how the actors would interact with them. We hired an army of very talented concept artists, and I worked very closely with my production designer Bill Brzeski, my DP Don Burgess and my visual effects supervisor Kelvin McIlwain. We went to work on creating the whole look and trying to figure out what we could shoot practically with the actors and stunt guys and what had to be done with VFX. And the VFX were crucial in dealing with the actors, too. If a body didn’t quite look right, they’d just replace them completely, and the only thing we’d keep was the face.

It almost sounds like making an animated film.
You’re right, as over 90% of it was VFX. I joke about it being an animated movie, but it’s not really a joke. It’s no different from, say, a Pixar movie.

Did you do a lot of previs?
A lot, with people like Third Floor, Day For Nite, Halon, Proof and others. We did a lot of storyboards too, as they are quicker if you want to change a camera angle, or whatever, on the fly. Then I’d hand them off to the previs guys and they’d build on those.

What were the main technical challenges in pulling it all together on the shoot?
We shot most of it Down Under, near Brisbane. We used all nine of Village Roadshow Studios’ soundstages, including the new Stage 9, as we had over 50 sets, including the Atlantis Throne Room and Coliseum. The hardest thing in terms of shooting it was just putting all the actors in the rigs for the dry-for-wet sequences; they’re very cumbersome and awkward, and the actors are also in these really outrageous costumes, and it can be quite painful at times for them. So you can’t have them up there too long. That was hard. Then we used a lot of newish technology, like virtual production, for scenes where the actors are, say, riding creatures underwater.

We’d have it hooked up to the cameras so you could frame a shot and actually see the whole environment and the creature the actor is supposed to be on — even though it’s just the actors and bluescreen and the creature is not there. And I could show the actors — look, you’re actually riding a giant shark — and also tell the camera operator to pan left or right. So it was invaluable in letting me adjust performance and camera setups as we shot, and all the actors got an idea of what they were doing and how the VFX would be added later in post. Designing the film was so much fun, but executing it was a pain.

The film was edited by Kirk Morri, who cut Furious 7, and worked with you on the Insidious and The Conjuring films. How did that work?
He wasn’t on set but he’d visit now and again, especially when we were shooting something crazy and it would be cool to actually see it. Then we’d send dailies and he’d start assembling, as we had so much bluescreen and VFX stuff to deal with. I’d hop in for an hour or so at the end of each day’s shoot to go over things as I’m very hands on — so much so that I can drive editors crazy, but Kirk puts up with all that.

I like to get a pretty solid cut from the start. I don’t do rough assemblies. I like to jump straight into the real cut, and that was so important on this because every shot is a VFX shot. So the sooner you can lock the shot, the better, and then the VFX teams can start their work. If you keep changing the cut, then you’ll never get your VFX shots done in time. So we’d put the scene together, then pass it to previs, so you don’t just have actors floating in a bluescreen, but they’re in Atlantis or wherever.

Where did you do the post?
We did most of it back in LA on the Warner lot.

Do you like the post process?
I absolutely love it, and it’s very important to my filmmaking style. For a start, I can never give up editing and tweaking all the VFX shots. They have to pull it away from me, and I’d say that my love of all the elements of the post process — editing, sound design, VFX, music — comes from my career in suspense movies. Getting all the pieces of post right is so crucial to the end result and success of any film. This post was creatively so much fun, but it was long and hard and exhausting.

James Wan

All the VFX must have been a huge challenge.
(Laughs) Yes, as there’s over 2,500 VFX shots and we had everyone working on it — ILM, Scanline, Base, Method, MPC, Weta, Rodeo, Digital Domain, Luma — anyone who had a computer! Every shot had some VFX, even the bar scene where Arthur’s with his dad. That was a set, but the environment outside the window was all VFX.

What was the hardest VFX sequence to do?
The answer is, the whole movie. The trench sequence was hard, but Scanline did a great job. Anything underwater was tough, and then the big final battle was super-difficult, and ILM did all that.

Did the film turn out the way you hoped?
For the most part, but like most directors, I’m never fully satisfied.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Director Peter Farrelly gets serious with Green Book

By Iain Blair

Director, producer and writer Peter Farrelly is best known for the classic comedies he made with his brother Bob: Dumb and Dumber; There’s Something About Mary; Shallow Hal; Me, Myself & Irene; The Three Stooges; and Fever Pitch. But for all their over-the-top, raunchy and boundary-pushing comedy, those movies were always sweet-natured at heart.

Peter Farrelly

Now Farrelly has taken his gift for heartfelt comedy and put his stamp on a very different kind of film, Green Book, a racially charged feel-good drama inspired by a true friendship that transcended race, class and the 1962 Mason-Dixon line.

Starring Oscar-nominee Viggo Mortensen and Oscar-winner Mahershala Ali, it tells the fact-based story of the ultimate odd couple: Tony Lip, a bouncer from The Bronx and Dr. Don Shirley, a world-class black pianist. Lip is hired to drive and protect the worldly and sophisticated Shirley during a 1962 concert tour from Manhattan to the Deep South, where they must rely on the titular “Green Book” — a travel guide to safe lodging, dining and business options for African-Americans during the segregation era.

Set against the backdrop of a country grappling with the valor and volatility of the civil rights movement, the two men are confronted with racism and danger as they challenge long-held assumptions, push past their seemingly insurmountable differences and embrace their shared humanity.

The film also features Linda Cardellini as Tony Vallelonga’s wife, Dolores, along with Dimiter D. Marinov and Mike Hatton as two-thirds of The Don Shirley Trio. The film was co-written by Farrelly, Nick Vallelonga and Brian Currie and reunites Farrelly with editor Patrick J. Don Vito, with whom he worked on the Movie 43 segment “The Pitch.” Farrelly also collaborated for the first-time with cinematographer Sean Porter (read our interview with him), production designer Tim Galvin and composer Kris Bowers.

I spoke with Farrelly about making the film, his workflow and the upcoming awards season. After its Toronto People’s Choice win and Golden Globe nominations (Best Director, Best Musical or Comedy Motion Picture, Best Screenplay, Best Actor for Mortensen, Best Supporting Actor for Ali), Green Book looks like a very strong Oscar contender.

You told me years ago that you’d love to do a more dramatic film at some point. Was this a big stretch for you?
Not so much, to be honest. People have said to me, “It must have been hard,” but the hardest film I ever made was The Three Stooges… for a bunch of reasons. True, this was a bit of a departure for me in terms of tone, and I definitely didn’t want it to get too jokey — I tend to get jokey so it could easily have gone like that.  But right from the start we were very clear that the comedy would come naturally from the characters and how they interacted and spoke and moved, and so on, not from jokes.

So a lot of the comedy is quite nuanced, and in the scene where Tony starts talking about “the orphans” and Don explains that it’s actually about the opera Orpheus, Viggo has this great reaction and look that wasn’t in the script, and it’s much funnier than any joke we could have made there.

What sort of film did you set out to make?
A drama about race and race relations set in a time when it was very fraught, with light moments and a hopeful, uplifting ending.

It has some very timely themes. Was that part of the appeal?
Absolutely. I knew that it would resonate today, although I wish it didn’t. What really hooked me was their common ground. They really are this odd couple who couldn’t be more different — an uneducated, somewhat racist Italian bouncer, and this refined, highly educated, highly cultured doctor and classically trained pianist. They end up spending all this time together in a car on tour, and teach each other so much along the way. And at the end, you know they’ll be friends for life.

Obviously, casting the right lead actors was crucial. What did Viggo and Mahershala bring to the roles?
Well, for a start they’re two of the greatest actors in the world, and when we were shooting this I felt like an observer. Usually, I can see a lot of the actor in the role, but they both disappeared totally into these characters — but not in some method-y way where they were staying in character all the time, on and off the set. They just became these people, and Viggo couldn’t be less like Tony Lip in real life, and the same with Mahershala and Don. They both worked so hard behind the scenes, and I got a call from Steven Spielberg when he first saw it, and he told me, “This is the best buddy movie since Butch Cassidy and the Sundance Kid,” and he’s right.

It’s a road picture, but didn’t you end up shooting it all in and around New Orleans?
Yes, we did everything there apart from one day in northern New Jersey to get the fall foliage, and a day of exteriors in New York City with Viggo for all the street scenes. Louisiana has everything, from rolling hills to flats. We also found all the venues and clubs they play in, along with mansions and different looks that could double for places like Pennsylvania, Ohio, Indiana, Iowa, Missouri, Kentucky, Tennessee, as well as Carolinas and the Deep South.

We shot for just 35 days, and Louisiana has great and very experienced crews, so we were able to work pretty fast. Then for scenes like Carnegie Hall, we used CGI in post, done by Pixel Magic, and we were also amazingly lucky when it came to the snow scenes set in Maryland at the end. We were all ready to use fake snow when it actually started snowing and sticking. We got a good three, four inches, which they told us hadn’t happened in a decade or two down there.

Where did you post?
We did most of the editing at my home in Ojai, and the sound at Fotokem, where we also did the DI with colorist Walter Volpatto.

Do you like the post process?
I love it. My favorite part of filmmaking is the editing. Writing is the hardest part, pulling the script together. And I always have fun on the shoot, but you’re always having to make sure you don’t screw up the script. So when you get to the edit and post, all the hard work is done in that sense, and you have the joy of watching the movie find its shape as you cut and add in the sound and music.

What were the big editing challenges, given there’s such a mix of comedy and drama?
Finding that balance was the key, but this film actually came together so easily in the edit compared with some of the movies I’ve done. I’ll never forget seeing the first assembly of There’s Something About Mary, which I thought was so bad it made me want to vomit! But this just flowed, and Patrick did a beautiful job.

Can you talk about the importance of music and sound in the film.
It was a huge part of the film and we had a really amazing pianist and composer in Kris Bowers, who worked a lot with Mahershala to make his performance as a musician as authentic as possible. And it wasn’t just the piano playing — Mahershala told me right at the start, “I want to know just how a pianist sits at the piano, how he moves.” So he was totally committed to all the details of the role. Then there’s all the radio music, and I didn’t want to use all the obvious, usual stuff for the period, so we searched out other great, but lesser-known songs. We had great music supervisors, Tom Wolfe and Manish Raval, and a great sound team.

We’re already heading into the awards season. How important are awards to you and this film?
Very important. I love the buzz about it because that gets people out to see it. When we first tested it, we got 100%, and the studio didn’t quite believe it. So we tested again, with “a tougher” audience, and got 98%. But it’s a small film. Everyone took pay cuts to make it, as the budget was so low, but I’m very proud of the way it turned out.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Steve McQueen on directing Widows

By Iain Blair

British director/writer/producer Steve McQueen burst onto the international scene in 2013 when his harrowing 12 Years a Slave dominated awards season, winning as Academy Award, Golden Globe, BAFTA and a host of others. His directing was also recognized with many nominations and awards.

Now McQueen, who also helmed the 2011 feature Shame (Michael Fassbender, Carey Mulligan) is back with the film Widows.

A taut thriller, 20th Century Fox’s Widows is set in contemporary Chicago in a time of political and societal turmoil. When four armed robbers are killed in a botched heist, their widows — with nothing in common except a debt left behind by their dead husbands’ criminal activities — take fate into their own hands to forge a future on their own terms.

With a screenplay by Gillian Flynn and McQueen himself — and based on the old UK television miniseries of the same name — the film stars, among others, Viola Davis, Michelle Rodriguez, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Carrie Coon, Jon Bernthal, Robert Duvall and Liam Neeson.

The production team includes Academy Award-nominated editor Joe Walker (12 Years a Slave), Academy Award-winning production designer Adam Stockhausen (The Grand Budapest Hotel) and director of photography Sean Bobbit (12 Years a Slave).

I spoke with McQueen, whose credits also include 2008’s Hunger, about making the film and his love of post.

This isn’t just a simple heist movie, is it?
No, it isn’t. I wanted to make an all-encompassing movie, an epic in a way, about how we live our daily lives and how they’re affected by politics, race, gender, religion and corruption, and do it through this story. I remember watching the TV series as a kid and how it affected me — how strong all these women were — and I decided to change the location from London to Chicago, which is really an under-used city in movies, and make it a more contemporary view of all these issues.

You assembled a great cast, led by Oscar-winner Viola Davis. What did she bring to the table?
So much weight and gravitas. She’s like an iceberg. There’s so much hidden depth in everything she does, and there’s this well of meaning and emotion she brings to the role, and then everyone has to step up to that.

What were the main technical challenges in pulling it all together?
The big one was logistics and dealing with all the Chicago locations. We had over 60 locations, all over the city, and 81 speaking parts. So there was a lot of planning, and if one thing got stuck it threw off the whole schedule. It would have been almost impossible to reschedule some of the scenes.

How tough was the shoot?
Pretty tough. They’re always grueling, and when you’re writing a script you don’t always think about how many night shoots you’re going to face, and you forget about this big machine you have to bring with you to all the locations. Trying to make any quick change or adjustment is like trying to turn the Titanic. It takes a while.

How early on did you start integrating post and all the VFX?
From day one. You have to when you have a big production with a set release date, so we began cutting and assembling while I shot.

Where did you post?
In Amsterdam, where I live, and then we finished it off in London.

Do you like the post process?
I love it. It’s my favorite part as you have civilized hours — 9 till 5 or whatever —and you’re in total control. You’re not having to deal with 40 or 50 people. It’s just you and the editor in a dark room, actually making the film.

Joe Walker has cut all of your films, including Hunger and Shame, as well Blade Runner 2049, Arrival and Sicario. Can you talk about working with him?
He wasn’t on set, and we had someone else assembling stuff as Joe was still finishing up Blade Runner. He came in when I got back to Amsterdam. Joe and I go way back to 2007, when we did Hunger, and we always work very closely together. I sit right next to him, and I’m there for every single cut, dissolve, whatever. I’m very present. I’m not one of those directors who comes in, gives some notes and then disappears. I don’t know how you do that. I love editing and finding the pace and rhythm. What makes Joes such a great editor is that he started off in music, so he has a great sense of how to work with sound.

What were the big editing challenges?
There are all these intertwined stories and characters, so it’s about finding the right balance and tone and rhythm. The whole opening sequence is all about pulling the audience in and then grabbing them with a caress and then a slap — and another caress and slap — as we set up the story and the main characters. Then there are so many parts to the story that it’s like this big Swiss watch: all these moving parts and different functions. But you always go back to the widows. A script isn’t a film, it’s a guide, so you’re feeling your way in the edit, and seeing what works and what doesn’t. The whole thing has to be cohesive, one thing. That’s your goal.

What about the visual effects?
They were all done by One Of Us and Outpost VFX (both in the UK), but the VFX were all about enhancing stuff, not dazzling the audience. The aim was always for realism, not fantasy.

Talk about the importance of sound and music.
They’re huge for me, and it’s interesting as a lot of the movie has no sound or music. At the beginning, there’s just this one chord on a violin when we get to the title card, and that’s it. There’s no sound for 2/3 of the movie, and then we only have some ambient music and Procul Harum’s “Whiter Shade of Pale” and a Van Morrison song. That’s why all the sound design is so important. When the women lose their husbands, I didn’t want it to be hammy and tug at your heartstrings. I wanted you to feel that pain and that grief and that journey. When they start to act and take control of their lives, that’s when the music and sound kick in, almost like this muscular drive. Our supervising sound editor James Harrison did a great job with all that. We did all the mixing in Atmos at De Lane Lea in London.

Where did you do the DI and how important is it to you?
We did it at Company 3 London with colorist Tom Poole, and it’s very important. We shot on film, and our DP Sean and I spent a lot of time just talking about the palette and the look. When you’re shooting in over 60 locations, it’s not so much about putting your own stamp and look on them, but about embracing what they offer you visually and then tweaking it.

For the warehouse scenes, there was a certain mood and it had crappy tungsten lighting, so we changed it a bit to feel more tactile, and it was the same with most of the locations. We’d play with the palette and the visual mood, which the DI allows you to do so well.

Did the film turn out the way you hoped?
(Laughs) I always hope it turns out better than I hoped or imagined, as your imagination can only take you so far. What’s great is when you go beyond that and come up with something cooler than you could have imagined. That’s what I always want.

What’s next?
I’ve got a few things cooking on the stove, and I should finish writing something in the next few months and then start it next year.

All Images Courtesy of 20th Century Fox/Merrick Morton


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

First Man: Oscar-winning director Damien Chazelle

He talks about his most recent film, First Man

By Iain Blair

It’s been two years since I spoke to writer/director Damien Chazelle for postPerspective about his film La La Land. While he only had three feature films on his short resume at the time, he was already viewed by Hollywood as a promising major talent.

That promise was fulfilled in a big way when La La Land — a follow-up to his 2014 release Whiplash (which received five Oscar noms, including Best Picture and Best Adapted Screenplay for Chazelle) — earned 14 Academy Award nominations, winning six awards, including Best Director for Chazelle. He was the youngest to receive the award. The film also won a record-breaking seven Golden Globe Awards and was honored with five BAFTA wins and 11 nominations.

Damian Chazelle working with DP Linus Sandgren on the set of “First Man.”

Recently, Chazelle reteamed with that film’s star, Ryan Gosling, who plays astronaut Neil Armstrong in Universal Pictures’ First Man, the story behind the first manned mission to the moon. Focusing on Armstrong and the decade leading to the Apollo 11 flight, it’s an intimate account that puts the audience squarely inside the planes and rockets, fully immersing the viewer in the exciting and terrifying test flights and space missions.

Based on the book by James R. Hansen, the film also explores the triumphs and the cost — on Armstrong, his family, his colleagues and the nation itself — of one of the most dangerous missions in history.

The film co-stars Claire Foy, as the unsung hero Janet Armstrong, and a supporting cast that includes Jason Clarke, Kyle Chandler, Patrick Fugit, Ethan Embry, Pablo Schreiber, Christopher Abbott and Corey Stoll.

Written by Academy Award-winner Josh Singer (Spotlight, The Post) — with Steven Spielberg as an executive producer — the film also reunites Chazelle with his Oscar-winning cinematographer Linus Sandgren (American Hustle), Oscar-winning editor Tom Cross (Whiplash) and Oscar-winning composer Justin Hurwitz (Whiplash). The director also teamed for the first time with Oscar-winning visual effects supervisor Paul Lambert (Blade Runner 2049, The Huntsman: Winter’s War).

I recently talked to Chazelle about making the film, which has already generated a lot of Oscar buzz, and his love of editing and post.

What sort of film did you set out to make?
I wanted to strip away the mythology a bit, as it’s very easy to forget these are real human beings who risked their lives in glorified sardine cans. It was a time before personal computers, and they were using technology that seems so antiquated now. It was about figuring out the edges of their potential. To me it felt like a story of resilience and sacrifice that was really worth telling, and my hope was to make it totally immersive. I wanted it to feel like you’re right there — in the capsules, in the test flights, wherever the characters are. I wanted to give it a feel of being almost like virtual reality.

What were the main technical challenges in pulling it all together?
The big thing was, we all wanted to get it technically right, down to the very smallest details, so all the help we got from NASA was invaluable. And first, we had to deal with the sheer density of material. There was so much knowledge we had to quickly gain in order to reflect it accurately. There was so much research and trips to landing sites and space museums, and meeting and talking to former colleagues and former astronauts. We also got the input and support of Neil’s sons and family. Then there was a lot of prep time where our production designer Nathan Crowley started designing and building all the spacecraft pretty much to scale.

How early on did you start integrating post and all the VFX?
Right away, but Nathan and I agreed that we should do as many of the VFX as in-camera as possible rather than using greenscreen, so we used a lot of full-scale models and also some miniatures. We used gimbals, motion-control and LED technology and some other in-camera effects, so the result felt like a very physicalized approach. I thought really suited the subject matter. I didn’t want to glamorize it, but show just how raw and tough it all was.

We looked at a lot of archival footage, and I storyboarded every scene in space and then made animatics set to Dustin’s music, so it gave us a very precise sense of, “OK, this is the shot. How are we going to do this other shot? How are we going to combine this effect with that one?” It was figuring out the methodology, shot by shot, and we had lots of multi-departmental meetings around tables with models and art work laid out. This allowed us to walk each other through the process. It was a bit like a relay race.

Can you talk about how you collaborated again with Linus Sandgren?
He did such a beautiful job on La La Land, and I knew what he was capable of, so it was great to collaborate with him and watch him work on this bigger canvas. He was able to tackle all the technical challenges, yet he was also always able to ensure that his photography had humanity to it. The human beings are at the center of it all, and he captured all the emotions in their faces, all the poetic moments in between all the big set pieces. He’s always searching for those things, which is what I love about his work. He built special light rigs for scenes with the sun, and then we shot the moon sequences at this gray-colored quarry near Atlanta, which we then sculpted.

To get that harsh lunar light, he developed the biggest film light ever built — around 200,000 watts. That gave us that black sky look and stark shadows. We also did a lot of testing of formats to figure out what the balance should be because we planned to shoot a lot in 16mm, some in 35mm, and then all the moon stuff in IMAX. All the transitions were important in telling the story.

(See your interview with Sandgren about his work on La La Land here.)

Where did you post?
All on the Universal lot in LA, including the sound mix.

Do you like the post process?
I love it, especially the editing. It’s my favorite part of the whole process, and where it all comes together.

Talk about editing with your go-to guy Tom Cross. What were the big editing challenges?
The big one was the huge amount of film I shot — two million feet — and a short editing schedule, shorter than La La Land. So figuring out how to take all that, and a lot of it was documentary style, and wrangle it into a narrative space and make the movie feel visceral, kinetic and propulsive was very challenging. Then finding the balance between the big set pieces in space and the quiet moments at home was demanding, but Tom’s so good at that and finding gems. Our first cut was over three hours long, so we had to cut a lot and find the most economical ways to work through the footage. This wasn’t like our last film, which was full of cuts and close ups. This was more a first-person point of view, and we had to edit in a way that gave clarity, structure and a kineticism to make it feel like this one big breathless ride.

All the VFX play a big role. Can you talk about working on them with visual effects supervisor Paul Lambert.
He was there right from the start, and he also designed all of the in-camera effects, and he’d refer to it as “doing the VFX in prep rather than leaving them all to post.” We used archival footage projected onto LED screens through the windows of the spacecraft, and that gave us our backgrounds. We didn’t have a lot of CG stuff created from scratch, but there was a lot of fine-tuning and finessing, so it was a big endeavor both in prep and post. But it never felt like that kind of effects movie where you shoot a ton of greenscreen and then fix it all in post.

(See our interview with Tom Cross about his work on First Man here.)

Talk about the importance of sound and music.
It’s huge for me, and that’s why music drives a lot of my films. I used to be a jazz drummer and I’m always thinking in terms of rhythm and sound. The sound team collected a huge range of sounds we could play with. Our sound designer Ai-Ling Lee would go down to the Cape and record stuff, and we also recorded sounds in old hangars and sounds from the old space suits and their cooling tubes and so on. It was really specific. Our set sound mixer Mary Ellis also recorded a ton of stuff, and it all went into a pile. The mixing took a long time, and we’d also augment the authentic sounds with animal noises, gunfire and other things, so it was quite experimental. Then there’s the absolute silence of the moon.

(Stay tuned for our interview with the audio post team on First Man.)

Where did you do the DI, and how important is it to you?
We did it at Universal with colorist Natasha Leonnet from EFilm. She did La La Land and Whiplash for me and is very experienced and an artist. The DI is such a key part of post, and I love the look we got.

What’s next?
I’m doing pre-prep on this TV musical drama, The Eddy, for Netflix. It’s set in Paris and we’ll start shooting there in March. Then I’m also writing this drama series for Apple TV, which I’ll direct and also executive produce. I have some movie ideas in development, but nothing set yet. I’m excited about the TV stuff.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.