In We Need to Talk About Oscar you can hear interviews with filmmakers. We are trying to shed some light on a wide range of professions within the industry, so ...
'September 5' director Tim Fehlbaum on the weight of history
It’s one thing to make a film about tragic historical events, but it’s another to depict them gracefully and objectively. This is exactly what director Tim Fehlbaum, his crew, and the stellar ensemble of Peter Sarsgaard, John Magaro, Ben Chaplin, and Leonie Benesch set out to do in the movie September 5.During our sit-down with Tim, he shared what led him to his third feature, his connection to the 1972 Munich events, his approach to directing this incredibly talented cast, and the complexities of the emotional and technical sides of the story.(Photo credit: Jürgen Olczyk / Paramount Pictures)
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Shea Whigham breaks out of character
Very few actors possess the level of versatility and underappreciation as Shea Whigham. From starring in indie gems like Wristcutters: A Love Story and Take Shelter to blockbuster franchises such as Mission: Impossible and acclaimed TV shows like Boardwalk Empire, Shea’s range is undeniable.Last June marked the Tribeca premiere of his team-up with Carrie Coon for Jeffrey Reiner’s crime dramedy Lake George, where Shea plays Don, a white-collar ex-convict who forms an unlikely alliance with Phyllis, played by Coon.We can also see Shea in 2025’s first major Netflix release, the miniseries American Primeval, where he portrays yet another vastly different character, Jim Bridger, a 19th century historical figure.Shea and Áron dive into topics like taste, the parallels and contrasts between Don and Jim, the character work behind both roles, and the one question he just had to ask Anthony Hopkins while shooting Joel Schumacher's Bad Company.(Photo credit: Daniel Prakopcyk)
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How ‘The Brutalist’ cinematographer Lol Crawley moved what's immobile
You probably know by now that we wouldn’t even risk not talking about the unexpected yet glorious return of VistaVision, with none other than The Brutalist cinematographer Lol Crawley!Brady Corbet’s third feature’s been the talk of the town ever since it’s buzzy Venice premiere and Silver Lion win.Lol tells us not only about his approach to photographing buildings, but what makes his collaboration with Brady go, and we even try to define the undefinable: beauty.(Photo: Courtesy of A24)
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How DoP Jomo Fray’s camera joined the act in ‘Nickel Boys’
Our coverage of one of 2024's most masterfully crafted films wouldn’t be complete without the mind responsible for executing its extraordinary visual language. So, with that, we present our breakdown of Nickel Boys, featuring cinematographer Jomo Fray.Among other things, Jomo tells us about how he is choosing projects, the evolution of the film’s unique look and the creative process behind it, as well as the subsequently obvious, yet unexpected challenges the team faced along the way.
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Rina Yang fights the battle of perception in ‘The Fire Inside’
2024's final episode features cinematographer Rina Yang, who joins us to discuss her work on The Fire Inside, the debut feature from cinematographer-turned-director Rachel Morrison.In our chat, we dig into the challenges of capturing the inspiring yet painfully real story of boxer Claressa Shields, from adapting to the Flint, Michigan setting to incorporating different lighting techniques into the story and production.Rina also shares insights on avoiding sport biopic clichés, creating an authentic visual language, and the connections between her and Shields’ journey.(Photo credit: Tram Kolluri / MGM Studios)
In We Need to Talk About Oscar you can hear interviews with filmmakers. We are trying to shed some light on a wide range of professions within the industry, so apart from the writers/directors/actors you can also get insights from cinematographers, editors, production designers, composers, and so on. Our aim is to provide an across the board picture on how our favourite films and tv shows come to life.
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