“Succession” series creator Jesse Armstrong writes characters who aren’t equipped for their times – either their inflated egos make them see small slights as momentous personal challenges or their stunted emotional maturity and intellect make them exactly the wrong people to deal with an actual crisis. In the case of “Succession,” it’s often both, and the camera responds accordingly.
Director Mark Mylod and director of photography Patrick Capone have together helmed over 10 episodes of the series together — including Season 4’s Episode 1, “The Munsters,” Episode 3, “Connor’s Wedding,” and Episode 9, “Church and State” — and like to keep the audience just a couple seconds behind and constantly re-finding the characters and the shifting power dynamics of individual scenes. It makes “Succession” look the way it must feel for the Roy siblings: one giant clusterfuck after another.
The series’s 90-minute finale is nigh, and the boardroom battle between “the Roy boys...
Director Mark Mylod and director of photography Patrick Capone have together helmed over 10 episodes of the series together — including Season 4’s Episode 1, “The Munsters,” Episode 3, “Connor’s Wedding,” and Episode 9, “Church and State” — and like to keep the audience just a couple seconds behind and constantly re-finding the characters and the shifting power dynamics of individual scenes. It makes “Succession” look the way it must feel for the Roy siblings: one giant clusterfuck after another.
The series’s 90-minute finale is nigh, and the boardroom battle between “the Roy boys...
- 5/27/2023
- by Sarah Shachat
- Indiewire
It feels weird to spoiler warn something “Succession” has built towards and hinted at since the pilot. But spoilers abound!
Death comes for us all, even for Logan Roy (Brian Cox). The inescapability of that truth, as much as any tears, denial, guilt, and/or panic, is what makes Episode 3, “Connor’s Wedding,” so affecting. The rhythm of the edit and, as director Mark Mylod put it, the “sadism” of the camera reinforces that reality, refusing to let the Roys beg, browbeat, or weasel their way past the one force even Logan couldn’t cow: time.
Mylod and cinematographer Patrick Capone hammer home the helplessness of this moment and the illogical gravity of grief by delivering maybe the fullest version of the visual and dramatic approach that has made “Succession” so remarkable. They, veteran camera operators Gregor Tavenner and Ethan Borsuk, and the shows’ actors stress-tested the series’ preference for...
Death comes for us all, even for Logan Roy (Brian Cox). The inescapability of that truth, as much as any tears, denial, guilt, and/or panic, is what makes Episode 3, “Connor’s Wedding,” so affecting. The rhythm of the edit and, as director Mark Mylod put it, the “sadism” of the camera reinforces that reality, refusing to let the Roys beg, browbeat, or weasel their way past the one force even Logan couldn’t cow: time.
Mylod and cinematographer Patrick Capone hammer home the helplessness of this moment and the illogical gravity of grief by delivering maybe the fullest version of the visual and dramatic approach that has made “Succession” so remarkable. They, veteran camera operators Gregor Tavenner and Ethan Borsuk, and the shows’ actors stress-tested the series’ preference for...
- 4/10/2023
- by Sarah Shachat
- Indiewire
Click here to read the full article.
Oscar-nominated cinematographer Lawrence Sher — whose credits include The Hangover, Joker and upcoming Black Adam — urged the next generation of cinematographers to take risks as he accepted the Distinguished Filmmaker Award at the International Cinematographers Guild (Local 600) Emerging Cinematographer Awards.
“Continue to take risks. … and be gentle and kind to yourself. That will keep you going,” he told this year’s 10 honorees during the ceremony, held Sunday at the Television Academy’s Saban Media Center. “What I love about the industry and being a member of Local 600 is that you can move up and do these things. [Your honored work] is incredible. You are risk takers. At ever stage of my career I tried not to think of the same path [and] dropped the safety net.”
Following a montage of his work, including some memorable moments from hit comedy The Hangover, he quipped, “I make a living shooting dumb shit.
Oscar-nominated cinematographer Lawrence Sher — whose credits include The Hangover, Joker and upcoming Black Adam — urged the next generation of cinematographers to take risks as he accepted the Distinguished Filmmaker Award at the International Cinematographers Guild (Local 600) Emerging Cinematographer Awards.
“Continue to take risks. … and be gentle and kind to yourself. That will keep you going,” he told this year’s 10 honorees during the ceremony, held Sunday at the Television Academy’s Saban Media Center. “What I love about the industry and being a member of Local 600 is that you can move up and do these things. [Your honored work] is incredible. You are risk takers. At ever stage of my career I tried not to think of the same path [and] dropped the safety net.”
Following a montage of his work, including some memorable moments from hit comedy The Hangover, he quipped, “I make a living shooting dumb shit.
- 10/3/2022
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Steven Spielberg’s remake of West Side Story for 20th Century Studios and FX’s crime drama Snowfall claimed top honors at the Society Of Camera Operators Awards held virtually on Saturday night, with Mitch Dubin, Soc, and “B” Camera John “Buzz” Moyer, Soc taking home the award for Camera Operator of the Year in Film for their work on the former title, and Manolo Rojas, Soc, and “B” Camera Pauline Edwards, Soc claiming Camera Operator of the Year in Television for their work on the eighth episode of the latter’s fourth season.
Dubin and Moyer prevailed over competition that included Gilles Corbeil, Soc (Nightmare Alley); Matthew Moriarty, Soc (A Quiet Place Part II); David Thompson, Soc, with “B” Camera Ian Seabrook, Soc (Finch); and Mike Heathcote, Soc (The Many Saints of Newark). Rojas and Edwards, meanwhile, won out over teams including Mick Froehlich, Soc, with Remi Tournois, Soc...
Dubin and Moyer prevailed over competition that included Gilles Corbeil, Soc (Nightmare Alley); Matthew Moriarty, Soc (A Quiet Place Part II); David Thompson, Soc, with “B” Camera Ian Seabrook, Soc (Finch); and Mike Heathcote, Soc (The Many Saints of Newark). Rojas and Edwards, meanwhile, won out over teams including Mick Froehlich, Soc, with Remi Tournois, Soc...
- 3/6/2022
- by Matt Grobar
- Deadline Film + TV
During a virtual celebration on Saturday, the Society of Camera Operators (Soc) announced winners for the 2022 camera operator of the year awards in film and television categories.
The recipients for camera operator of the year in film are Mitch Dubin and “B” camera operator John “Buzz” Moyer for “West Side Story.” Manolo Rojas and “B” camera operator Pauline Edwards earned the camera operator of the year in television award — for their work in the “Snowfall” episode “Betrayal” (S4 E8).
This year’s Soc Awards Celebration marked the first time that the Soc expanded nominations to include both “A” and “B” camera operators — allowing for increased recognition of the collaborative efforts among operator teams.
Dubin, Moyer, Rojas and Edwards topped an impressive group of nominees in both film and television. Additional nominations in the film category included Gilles Corbeil (“Nightmare Alley”), Matthew Moriarty (“A Quiet Place Part II”), David Thompson with...
The recipients for camera operator of the year in film are Mitch Dubin and “B” camera operator John “Buzz” Moyer for “West Side Story.” Manolo Rojas and “B” camera operator Pauline Edwards earned the camera operator of the year in television award — for their work in the “Snowfall” episode “Betrayal” (S4 E8).
This year’s Soc Awards Celebration marked the first time that the Soc expanded nominations to include both “A” and “B” camera operators — allowing for increased recognition of the collaborative efforts among operator teams.
Dubin, Moyer, Rojas and Edwards topped an impressive group of nominees in both film and television. Additional nominations in the film category included Gilles Corbeil (“Nightmare Alley”), Matthew Moriarty (“A Quiet Place Part II”), David Thompson with...
- 3/6/2022
- by Wyatte Grantham-Philips
- Variety Film + TV
Tues. Feb. 23 Gravitas Ventures Acquires U.S. Distribution Rights for ‘The Oak Room’
Gravitas Ventures, a Red Arrow Studios company, has acquired U.S. rights to distribute the Black Fawn Films thriller “The Oak Room.”
Directed by Cody Calahan, written by Peter Genoway, and produced by Chad Archibald and Ari Millen, the film stars Rj Mitte (“Breaking Bad”), Peter Outerbridge, Ari Millen, Martin Roach, Nicholas Campbell, and David Ferry.
The film follows a drifter who tries to settle an old debt with a grizzled bartender by telling him a story. The night’s events quickly spin into a dark tale of mistaken identities, double-crosses and shocking violence.
“The Oak Room” will be released in theaters and on-demand on April 2.
American Cinema Editors (Ace) Announces Date Change to April 17
The American Cinema Editors (Ace) announced today that the 71st Annual Ace Eddie Awards will be held on April 17 at 11 am Pt...
Gravitas Ventures, a Red Arrow Studios company, has acquired U.S. rights to distribute the Black Fawn Films thriller “The Oak Room.”
Directed by Cody Calahan, written by Peter Genoway, and produced by Chad Archibald and Ari Millen, the film stars Rj Mitte (“Breaking Bad”), Peter Outerbridge, Ari Millen, Martin Roach, Nicholas Campbell, and David Ferry.
The film follows a drifter who tries to settle an old debt with a grizzled bartender by telling him a story. The night’s events quickly spin into a dark tale of mistaken identities, double-crosses and shocking violence.
“The Oak Room” will be released in theaters and on-demand on April 2.
American Cinema Editors (Ace) Announces Date Change to April 17
The American Cinema Editors (Ace) announced today that the 71st Annual Ace Eddie Awards will be held on April 17 at 11 am Pt...
- 2/23/2021
- by Jazz Tangcay
- Variety Film + TV
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