The Apple TV+ limited series “Lessons in Chemistry” tells the story of Elizabeth Zott (Brie Larson), a brilliant chemist struggling against the blatant sexism of the 1950s science community before taking her skills and empowering women over the airwaves through a science-driven cooking show. But how did the artists behind the scenes transport us to the era? We spoke with editor Geraud Brisson, hair department head Teressa Hill, cinematographer Jason Oldak, composer Carlos Rafael Rivera, supervising sound editor Perry Robertson, and production designer Cat Smith for a special “Making Of” panel. Watch our entire discussion above.
SEEEmmys spotlight: Lewis Pullman scores top marks in ‘Lessons in Chemistry’
For Hill, “the shapes that we create on set” with the hairstyles “actually help to tell the story.” She explains, “You have to research the economic status of a character. You have to take into consideration the storyline as well. Like with Elizabeth Zott,...
SEEEmmys spotlight: Lewis Pullman scores top marks in ‘Lessons in Chemistry’
For Hill, “the shapes that we create on set” with the hairstyles “actually help to tell the story.” She explains, “You have to research the economic status of a character. You have to take into consideration the storyline as well. Like with Elizabeth Zott,...
- 4/25/2024
- by Daniel Montgomery
- Gold Derby
In Jason Reitman’s films, dialogue is often the engine that drives a scene. That is certainly the case with “The Front Runner,” which follows Gary Hart’s tumultuous three-week presidential campaign in 1988, but he also wanted it to sound like like a 1970s film. Specifically, the political dramas like “All The President’s Men” and “The Candidate,” and the long-take, multi-character films of director Robert Altman (“Nashville”).
As cinematographer Eric Steelberg’s camera wove through the ensemble cast, Reitman wanted to enter and exit various conversations and feel the commotion behind the scenes.
“He wanted to hear everybody all the time in the sense [of the] normal life of a political campaign, where everybody’s just talking and working all at once,” said sound mixer Steve Morrow. “Depending on who the camera is focused on is who you’re hearing and understanding what they’re saying.”
Morrow, whose three-person team was responsible for mic’ing,...
As cinematographer Eric Steelberg’s camera wove through the ensemble cast, Reitman wanted to enter and exit various conversations and feel the commotion behind the scenes.
“He wanted to hear everybody all the time in the sense [of the] normal life of a political campaign, where everybody’s just talking and working all at once,” said sound mixer Steve Morrow. “Depending on who the camera is focused on is who you’re hearing and understanding what they’re saying.”
Morrow, whose three-person team was responsible for mic’ing,...
- 11/9/2018
- by Chris O'Falt
- Indiewire
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