“Stranger Things” Cinematographer Caleb Heymann on Season 4’s Monstrous Mayhem

*Spoilers below for the first seven episodes of season 4!

The first seven episodes — the last two are expected in July — of Stranger Things Season 4 go big. Hopper (David Harbour) is alive but in a Soviet prison. The kids are split up, with Eleven (Millie Bobby Brown) and Will (Noah Schnapp) living the opposite of a teenage dream out in California. The rest of the gang are still in Hawkins,

“The Last Days of Ptolemy Grey” DP Shawn Peters on Lensing Samuel L. Jackson’s Rare TV Performance

Based on Walter Mosley’s eponymous novel, The Last Days of Ptolemy Grey portrays 91-year-old Ptolemy (Samuel L. Jackson), a lonely widower suffering from Alzheimer’s, as he undergoes a transformation thanks to Robyn (Dominique Fishback), the teenage daughter of a family member’s friend, and an experimental new drug, offered at a beyond questionable clinic.

Jackson, who rarely takes on television projects, is sublime as the limited series’ Papa Grey: by turns helpless,

“The Wheel of Time” Cinematographer David Moxness on Lensing Amazon’s Lush Fantasy Epic

Amazon Prime’s sprawling sci-fi saga The Wheel of Time was one of the streamer’s big hits in 2021, and also one of its biggest swings. Adapted from Robert Jordan’s sweeping fantasy novels (14 in all), The Wheel of Time arrived on Prime and swiftly became the most-watched series premiere of 2021 and one of the top 5 series launches for Prime Video, ever. The interest stemmed from the love for Jordan’s source material,

Oscar-Nominated “Dune” DP Greig Fraser on Taming an Epic Sci-Fi Beast

Denis Villeneuve is the director to finally tame a film version of Dune, Frank Herbert’s 1965 sci-fi novel that, over the decades, accidentally spawned a cottage industry of unsuccessful visual projects (see: David Lynch’s 1984 Dune, the SyFy channel’s attempt in 2000, and Alejandro Jodorowsky’s Dune, which never saw the light of day). Casting Timothée Chalamet as young prince Paul Atreides and Zendaya as Chani of the Fremen,

Cinematographer Jon Furmanski Reunites With Amy Schumer in “Life & Beth”

When she co-hosts ABC’s Oscar telecast on March 27, Amy Schumer will likely deliver the kind of withering punch lines that forged her reputation as one of America’s most daring comedians. But in her new Hulu series Life & Beth (which debuted on March 18) Schumer brings unexpected angst to her title character, an unhappy wine salesperson trying to make a fresh start in the face of death, disapproval, and dysfunctional family ties.

“The Batman” Cinematographer Greig Fraser on Finding Light in the Darkness

At a gripping three hours, The Batman isn’t so much an endurance test as it is a lengthy visual puzzle, one that takes place primarily after hours. Director Matt Reeves’s take on Batman (Robert Pattinson) may be the franchise’s most disaffected nocturnal not-so-superhero yet. Working, brooding, and convening with Alfred (Andy Serkis) from dusk ’til dawn, this Bruce Wayne is consumed by trying to undo a complex web of official corruption hidden by Gotham City’s entrenched crop of violent mafiosos.

“After Yang” Cinematographer Benjamin Loeb on the Spare Sci-Fi Beauty of Kogonada’s Latest

After Yang cinematographer Benjamin Loeb knew the minute he met South Korean-born director Kogonada that theirs would not be a standard show biz collaboration. When Loeb called from his native Oslo to Zoom interview for the DP job, he and Kogonada barely mentioned the project at hand. Instead, they talked about ramen. “We spent hours talking about the complexion of broth and what makes the broth look good and feel good,” Loeb recalls.

“Station Eleven” Cinematographer Christian Sprenger on Threading Timelines & Revealing Humanity

It was two days after Christmas when I texted cinematographer Christian Sprenger to ask if he’d be interested in talking about Station Eleven, the critically acclaimed limited series created for television by Patrick Somerville (Maniac, The Leftovers) on HBO Max. I had just finished watching the pilot episode “Wheel of Fire,” which he photographed alongside director Hiro Murai, and the visual aesthetics were astoundingly refreshing.

Adapted from the book by Emily St.

Sundance 2022: “Master” Cinematographer Charlotte Hornsby on the Fest’s Breakout Horror Film

Writer and director Mariama Diallo brings atmospheric horror to the world of academia in her directorial debut Master, which just premiered at the Sundance Film Festival. The film stars Regina Hall as professor Gail Bishop, who has recently been made the first Black woman to hold the position of residence hall ‘Master’ at a prestigious fictional university called Ancaster. Both she and a fresh, optimistic Black student Jasmine (Zoe Moore) begin to feel a menacing supernatural presence.

“The Tender Bar” Cinematographer Martin Ruhe on George Clooney’s Heartfelt Adaptation

Arriving during times that don’t feel particularly tender, The Tender Bar is George Clooney’s adaptation of J.R. Moehringer’s book about growing up in the 60’s and 70’s-era Long Island, without a father. Instead, he seeks out surrogate role models in the house of extended relatives where his mother retreats, and in the local bar where his uncle tends. And, Clooney, of course, stays behind the camera here, leaving the acting chores to Ben Affleck as Uncle Charlie,

Best of 2021: “No Time to Die” DP Linus Sandgren on Daniel Craig’s Epic Sendoff as James Bond

This interview is part of our highly subjective, decidedly non-comprehensive “Best of 2021” year-end list. It was originally published on October 7.

In No Time to Die, Daniel Craig gets two hours and 43 minutes to show James Bond fans what they’ll be missing once he exits his five-movie run as the world’s most enduring British spy. Following Craig’s every step, car chase, and explosion along the way is Swedish DP Linus Sandgren.

“Being the Ricardos” Cinematographer Jeff Cronenweth on Blending Period & Modern Techniques

Having photographed The Social Network, cinematographer Jeff Cronenweth knows the writing style of Aaron Sorkin all too well. So when the writer/director said, “You’d make my wish come true if you say yes to this’ during an initial meeting,” it was easy for Cronenweth to jump on board. “This script is classic Sorkin dialogue, packed from one end to the other,” says the Oscar-nominated cinematographer. “It’s extremely clever. It’s emotional.

“Nightmare Alley” Cinematographer & VFX Supervisor on Creating Guillermo del Toro’s Carnival Noir

Most of the films coming out now – whether award contenders, tent poles, or any combination thereof – share similar stories apart from whatever genre the movie itself belongs to: namely, the story of the Covid delay, and how it affected production.

So it was for Guillermo del Toro’s version of Nightmare Alley, another rendering of the novel by the ill-fated William Lindsay Graham, whose work originally inspired Tyrone Power’s memorable,

“The Power of the Dog” Cinematographer Ari Wegner on Finding the Light in Jane Campion’s Mythic Western

Auteur writer/director Jane Campion is known for being one of the few female filmmakers to garner a Best Director Oscar nomination, for 1993’s The Piano, which won her an Oscar for Best Screenplay. Fans have been anxiously awaiting her first feature film release since 2009’s Bright Star, and she’ll do them proud with The Power of the Dog, an intense period drama starring Benedict Cumberbatch as bullying 1920s rancher Phil Burbank.

Cinematographer Alice Brooks Makes “tick, tick…BOOM!” Sing With Personal Memories

tick, tick…Boom! may not have the name recognition of Jonathan Larson’s most famous production, Rent, but it is a theater kid’s dream for Broadway royalty to bring this story to the screen. The film interpretation of his unfinished work captures the heart and hustle of 1990s New York through Larson’s eyes. Although Larson passed away in 1996, the project was lovingly researched and reconstructed by director Lin-Manuel Miranda and screenwriter Steven Levenson.

DP Edu Grau on Using Light & Shadow to Play With Skin Tone in “Passing”

Set in 1920s Harlem and based on Nella Larsen’s 1929 novel of the same name, Passing, actress Rebecca Hall’s directorial debut tracks the relationship of two light-skinned Black women, Irene and Clare, who’ve taken opposite paths toward safety and recognition. Former childhood acquaintances, a chance run-in reveals the women’s abiding interest in one another, and as they reinsert themselves into each other’s lives, the differences between Irene and Clare take their toll on the stability each woman had achieved.

“The Harder They Fall” Cinematographer Mihai Malaimare Jr. on Reimagining the Wild West

In The Harder They Fall, now streaming on Netflix, director Jeymes Samuel (who also co-wrote and scored the film) revisits the deserts, saloons, and lonely train cars of the Old West. Taking names if not the exact stories of real people from the region’s history, the film follows Nat Love (Jonathan Majors) as he searches for Rufus Buck (Idris Elba), a villain’s villain who opens the film by murdering Nat’s parents and carving a cross into the young Nat’s (Anthony Naylor Jr.) forehead.

Halloween Treat: How Cinematographers James Kniest & Toby Oliver Capture Horror

It’s that time of year where people gather around screens to watch stories that convey the vivid glow of the season, and the unforgettable gatherings they bring.

Yuletide lights? Hanukkah latke feeds? A Secret Santa party? No, think more along the lines of glinting blood, the glow from a flaming church with vampires huddled inside, or a town’s lynch mob futilely pursuing a supernaturally charged serial killer.

Welcome to the sights and sounds of Halloween.

“No Time to Die” DP Linus Sandgren on Daniel Craig’s Epic Sendoff as James Bond

In No Time to Die, Daniel Craig gets two hours and 43 minutes to show James Bond fans what they’ll be missing once he exits his five-movie run as the world’s most enduring British spy. Following Craig’s every step, car chase, and explosion along the way is Swedish DP Linus Sandgren. “It was important in this film to make sure that we bookend Daniel Craig’s chapter of Bond in an exciting way,” says Sandgren.

Cinematographer Kira Kelly on The Dark & Desperate World of “Y: The Last Man”

Y: The Last Man kicked off the fall TV season with a dramatic debut. Based on the DC Comics series, the show chronicles families in mourning, supply chains upended, and a democracy dominated by men dismantled when every person born with a Y chromosome suddenly dies. It’s a shocking and abrupt event that leaves a mystery behind when Yorick Brown (Ben Schnetzer) realizes he is the only one left of his kind.