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Last Take: Rust and the Story of Halyna director Rachel Mason
Rachel Mason's documentary, Last Take: Rust and the Story of Halyna, is not a sensationalist recounting of tragedy. It's a deeply personal exploration of the life and untimely death of cinematographer Halyna Hutchins, whose life was tragically cut short on the set of Rust. Rachel, a friend and fellow filmmaker, centers the narrative on Halyna herself, weaving together interviews with her friends and colleagues to illuminate her legacy beyond the sensationalized headlines. Rachel and Halyna became friends through their children, who were classmates at the same daycare. This shared experience blossomed into creative collaboration, with Rachel and Halyna working together on music videos, gallery installations, and performance art pieces. Following Halyna's death, her widower, Matt Hutchins, entrusted Mason with the task of creating a documentary, out of a desire to counter the overwhelming media frenzy. “At first, the idea of doing a documentary about Halyna made literally no sense,” Mason recalls. “She's the person I wanted to make films with. Suddenly I had to recognize, no, she has passed on, and someone's got to tell the world who she was.” Rachel dove into Halyna's filmography and personal film archives that she had stored on hard drives. Halyna's detailed notebook for Rust, filled with ideas and references, offered a profound insight into her creative process. While Rachel wanted to create a beautiful biography about her friend, she recognized the need to confront the media's portrayal of the shooting. “The media portrayal of the way things unfolded became part of the film, because all the different people involved got distorted in the media. That became part of grappling with this story and trying to find the truth by going back and meeting the real people who were there.” As Halyna's friend, Rachel gained the trust of Halyna's colleagues on the film, who shared their memories of her. Halyna's own words from her notebooks and in messages and emails add to the narrative. Rachel also had to sit through the trial of the armorer, Hannah Gutierrez-Reed, which was one of the of the hardest things she had to do for the documentary. The decision to complete Rust after Halyna's death sparked ethical debates within the film community. However, her family, including her mother, strongly supported the project. Rachel, who was granted exclusive access to the set during filming, believes that finishing Rust was essential. “Halyna wanted the world to see her work. She was so ambitious,” Mason emphasizes. “I have no doubt, Rust was gonna be the film that all the other directors would see a new, up and coming superstar. This would have taken their breath away. She would have gotten calls—she would have been a high level DP.” You can see Last Take: Rust and the Story of Halyna on Hulu. Find Rachel Mason: https://www.futureclown.com/ Instagram:@futureclown Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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1:13:50
Grace Point indie film director Rory Karpf & DP Al Francesco
For director Rory Karpf, a core philosophy is that things are going to change- a lesson learned from years of documentary filmmaking. This flexibility proved invaluable when crafting his indie feature, Grace Point. Adapted from a larger, more ambitious script, Grace Point tells the story of a young man on his way to a remote drug rehab. His journey takes a dark and unexpected turn when he finds himself in a strange town being chased by the locals and his own personal demons. The genesis of Grace Point began with a documentary shoot in a very specific location. Rory and cinematographer Al Francesco were working on recreations in Laurinburg, North Carolina. Al suggested that Rory reimagine the script as a smaller, more intimate indie film, using the town's natural settings. They were able to find every location they needed in Laurinburg and the surrounding area. The rapid 19 day production schedule with 10-hour workdays required working around outdoor shoots and unpredictable Southern weather. With many locations donated, Rory and Al knew they couldn't waste time with reshoots or lose any days to the weather. They dedicated two weeks to detailed location and technical scouting, meticulously planning shots and coverage. Al found the time to be flexible and see compositions when they naturally occurred, like taking advantage of a beautiful foggy morning during the shoot. Rory and Al's background in documentary filmmaking proved to be a significant asset. "One thing I learned with documentaries are things are gonna change," Rory states. "With narrative scripted filmmaking, it could be the actor isn't getting the scene right for whatever reason. We're gonna try something a little bit different, and be open to that working." Al's documentary instincts led him to adopt a "keep the camera rolling" approach, even after "cut" was called, capturing authentic reactions. He also streamlined the process by lighting entire scenes and shooting multiple angles without resetting, and even capturing close-ups and inserts during rehearsals. The collaboration between Rory and Al began at NFL Films, where they honed their skills on sports documentaries featuring prominent figures like Peyton Manning (The Book of Manning) and Snoop Dogg (Coach Snoop). These “follow docs” often involved recreations, which served as mini-movies, providing valuable experience for their transition to narrative filmmaking. Their established network of crew members, producers, and access to affordable gear proved crucial. "It's not a negative for us to have a small crew and make the most of it- that's normally what we do," Al notes. For Rory, the most vital aspect of filmmaking is fostering a positive and enjoyable atmosphere. "Working with Al, he makes the stuff look great, but he also understands how it incorporates in the story," he says. This blend of technical expertise and storytelling acumen is what brought Grace Point to life, proving that even with limited resources, passion and ingenuity can create compelling cinema. You can purchase Grace Point on Apple TV and Amazon Prime. Find Rory Karpf: https://www.gracepointfilm.com/ Find Al Francesco: https://www.albefilms.net/ Instagram: @gracepointfilm Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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1:20:17
Stephen Murphy, BSC: balancing love and terror in Heart Eyes
Heart Eyes isn't your typical horror film or romantic comedy. It's a genre-bending fusion of sweet romance and chilling slasher horror. Cinematographer Stephen Murphy, BSC, ISC has crafted a film that authentically captures the tone of both genres. This ambitious goal required a nuanced approach to lighting and color, a visual language that could seamlessly transition between heartwarming romance and heart-pounding terror. Director Josh Ruben “was very clear from the beginning that he wanted to make a very earnest love letter to rom-coms AND to slasher movies- particularly rom-coms and slasher movies from the 80s and 90s,” says Stephen. “He didn't want us to shortchange either one. He wanted to make a genuine rom-com and a genuine slasher movie, but in the same film.” Stephen found it challenging mixing the two genres to find the right balance. The film begins with the warm, inviting tones of a classic rom-com, bathed in warmer colors that create a sense of comfort and affection. As the sinister presence of the Heart Eyes Killer emerges, the palette begins to shift into blue, moonlight shade that signal the arrival of horror. It was important to Stephen that the horror elements wouldn't succumb to gloomy, underexposed visuals. He aimed for clarity, using harder backlights and harder shadows to maintain a sense of definition and keep the actors looking their best, even amidst the chaos. This approach ensured that the rom-com aesthetic persisted, even as the slasher elements intensified. Both Ruben and Stephen were influenced by the movie I Know What You Did Last Summer and Jaws. They used storyboards for key moments in certain scenes, then built the rest of the scenes around the boards. Filmed in New Zealand, Heart Eyes was a fast-paced production, moving from greenlight to release in just twelve months. The film's horror sequences relied on a blend of practical and visual effects, with the Heart Eyes Killer's mask being a prime example of practical effects. Made in Los Angeles, Stephen had time to practice lighting it and testing the light-up eyes. During preproduction, Stephen discovered that keeping constantly moving lights on the killer in the mask kept it looking sinister. Stephen's previous experience working on horror films proved invaluable on Heart Eyes. He also was a cinematographer on the TV series Atlanta and Mr. & Mrs. Smith, for episodes shot in Europe. On these projects, he enjoyed the creative freedom to explore different styles and shoot those episodes a bit differently than the rest of the series. Heart Eyes is currently available for purchase on VOD. Find Stephen Murphy: https://www.stephen-murphy.com/ Instagram: @stephenmurphybsc Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://aputure.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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1:13:02
Andrew Bird: editing The Seed of the Sacred Fig in secret
Mohammad Rasoulof, the Iranian director whose films have consistently challenged the authority of the Islamic Republic, has faced imprisonment and persecution for his artistic vision. While serving time in Iranian prison for his films A Man of Integrity and 2020’s There Is No Evil, Rasoulof began to think about his next film, The Seed of the Sacred Fig. He was released from prison and began filming The Seed of the Sacred Fig in absolute secrecy while still under close scrutiny by the government. The Seed of the Sacred Fig is a gripping drama that explores the impact of authoritarian rule and political unrest on a family in Iran. Iman has just began a new job as an investigating judge in Tehran's Revolutionary Court when protests break out in Tehran. Paranoid about being hunted by protestors for his role in the regime, he clashes with his wife and daughters at home. When his gun goes missing, he suspects one of them has taken it, leading to a breakdown of trust within the family. In late 2023, Rasoulof reached out to editor Andrew Bird, with whom he had previously collaborated on Manuscripts Don't Burn in Germany. This time, however, the collaboration would be fraught with extraordinary challenges. With Rasoulof still in Iran, direct communication was severely limited, relying on long phone conversations facilitated by an interpreter. Andrew received an English translation of the script, but his lack of Farsi proficiency presented a unique hurdle. “I have edited a number of films in languages I don't speak,” says Andrew. “It's pretty easy to tell, even without the language, which performance is good and which isn't. I don't really need to understand the language for that.” Rasoulof sent footage in small, uploaded files, only with a few favorite takes marked. Andrew began editing as the film was being shot, piecing together the narrative puzzle without knowing the full scope of each scene. He was particularly struck by the film's powerful imagery and the challenging locations, given the clandestine nature of the production. “It was weird because normally you have a director with you so you're throwing ideas out there and the director's throwing ideas out there, and then suddenly something new emerges, and that leads you to places where you'd never have anticipated getting to,” says Andrew. “All that was lacking in this process because we were in two separate countries. I had to rely on myself, I had to really examine everything a lot more closely. It was enriching as well, because it really gives you more confidence in your own decisions and your own instincts.” After completing filming, Rasoulof made a daring escape from Iran, crossing the border illegally to return to Germany. He has since been able to travel and promote The Seed of the Sacred Fig, which has garnered critical acclaim, including multiple awards at the Cannes Film Festival and an Academy Award nomination for Best International Feature. For Andrew, the experience was profoundly meaningful. “I feel incredibly privileged to be part of this,” he says. “I think when I started making films, it was with this naive belief that you could change something in the world with your art. To be able to work on a film that does make a little difference somewhere in the world is an incredible privilege. I'm incredibly grateful for the opportunity to do it.” The Seed of the Sacred Fig is currently available for purchase on VOD. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Laowa by Venus Optics: https://laowacine.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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1:12:26
2025 Academy Awards nominations with Jenelle Riley, Variety
Long-time friend and colleague Jenelle Riley of Variety magazine chats with Ben and Illya for our SIXTH annual Oscar nominations special. With a focus on cinematography, they discuss what they liked, what will win, what should win, and their favorite movies of the year that may not have been recognized. They discuss this year's nominations, the BAFTAs as a predictor for this year's Oscars, the ASC Awards nominees, and a little about last year's nominee and winner, Hoyte Van Hoytema, for Oppenheimer. Both Alice Brooks for Wicked and Stéphane Fontaine for Conclave were not nominated this awards season, but were nominated for ASC Awards. Ed Lachman, cinematographer of Maria, won the ASC Award this year. Ben, Jenelle and Illya agree that Drew Daniels for Anora and Benjamin Kracun for The Substance were also cinematographers who deserve recognition for their work. Academy Award nominees for Best Cinematography this year are: Lol Crawley, The Brutalist Greig Fraser, Dune Part 2 Paul Guilhaume, Emilia Pérez Ed Lachman, Maria Jarin Blaschke, Nosferatu Find Jenelle Riley on Facebook, Instagram, Blue Sky, X: @jenelleriley and Variety: https://variety.com/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
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