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Michael Sarnoski (Pig, A Quiet Place: Day One) breaks down how he and DP Pat Scola made The Death of Robin Hood for A24. Shot on 35mm Kodak film in Northern Ireland through brutal weather, a fully practical burning hut built to survive 15-minute takes, and a deliberate aspect ratio shift that marks the story's turn. We get into the brutal/beautiful balance at the heart of the film, how rigid the shot list actually is on set, and why "natural light" is more precise and deliberate than it looks.

I sat down with cinematographer Eben Bolter (THE LAST OF US, AVENUE 5, SECRET INVASION, THE LIFE OF CHUCK) to break down how he and the team built the visual language of CAPE FEAR.

We talk about shooting with the Alexa 35 and Atlas Mercury lenses, using hard light in an era of soft lighting, embracing theatricality over realism, creating Javier Bardem’s reveal, why they leaned so heavily into water motifs, and how a major prestige TV series ended up looking far bolder than most modern streaming shows.

If you’ve ever wondered why some movies and TV shows feel visually alive while others feel safe, this conversation is for you.

A conversation with Kane Parsons on making the BACKROOMS movie, coming from YouTube, and what might be next for the series.

My conversation with Sophy Romvari about BLUE HERON.

A deep dive into the cinematography of the HBO mini-series DTF. St Louis with cinematographer James Whitaker