That soft light that only shows up on 35 with Panavision. Just well crafted work, solid cinematography. Identifying and analyzing Cinematography as an art separate from the story is important for understanding how to light.
Though average hollywood in many respects its not entirely cookie cutter and was very entertaining. Making a living is important ;)
Emily has been looking to direct for a long time, but family and other obligations have gotten in the way. We really wanted to make sure that it happened here. Not only is she a phenomenal actress, but her father is Caleb Deschanel so she knows all the camera angles — where to put it and everything else — just really to get the best performance. She was phenomenal, especially because it’s a very different episode in terms of tone. It’s a little bit more claustrophobic, but she never made it feel claustrophobic. She kept it feeling very, very big and the actors loved working with her. At the end of it, they were like, “She can direct all the episodes.” There is a special talent that an actor brings to directing and [she] couldn’t have been more collaborative, more delightful, and she even came in under budget, so what more can you ask for?
MICHAEL PETERSON - Can you expand on how she did as a director? What does she bring to that premiere episode?
When you’re dealing with a murderers’ row of cinematographers like this, you have to shoot in widescreen. From left to right: Emmanuel Lubezki, John Bailey, Dean Cundey, Ed Lachman, John Seale, and Caleb Deschanel.