American Cinematographer Podcasts

Rodney Taylor, ASC, cinematographer of That Evening Sun, talks with AC’s Jim Hemphill about shooting a low-budget anamorphic feature on location and finishing using old school photochemical techniques.

Cinematographer Mihai Malaimare Jr. speaks with American Cinematographer's Jim Hemphill about his work on Francis Ford Coppola's film Tetro, delving into the specifics of the film's unique visual style, shooting on location in Argentina, and his experiences shooting High Definition Video.

Cinematographer Mihai Malaimare Jr. speaks with American Cinematographer's Jim Hemphill about his work on Francis Ford Coppola's film Tetro, delving into the specifics of the film's unique visual style, shooting on location in Argentina, and his experiences shooting High Definition Video.

Newton Thomas Sigel, ASC, cinematographer of Valkyrie, speaks with American Cinematographer's Jon Silberg about the film stocks, lens and digital intermediate processes that created the look of the film as well as the impact of Tom Cruise signing on to what had originally been a small and low-budget project.

Cinematographer Matthew Leonetti, ASC and visual effects supervisor Richard Edlund, ASC sits down with American Cinematographer's Iain Stasukevich to discuss some of the classic techniques on display in the 1982 film Poltergeist.

Guillermo Navarro, ASC, cinematographer of Hellboy II: The Golden Army, discusses shooting tooth fairies and elementals, creating otherworldly environments and working alongside Guillermo del Toro with American Cinematographer's Iain Stasukevich.

Alik Sakharov, ASC, the main director of photography on HBO’s The Sopranos, has revealed that the show’s controversial ending was partly inspired by the mindbending climax of Stanley Kubrick’s metaphysical space opera 2001: A Space Odyssey — an homage he planned carefully with the show’s creator, David Chase. “We talked about 2001 quite a bit,” Sakharov says in an exclusive, hour-long podcast that can be heard by clicking on the accompanying link. In a wide-ranging interview with Stephen Pizzello, executive editor of American Cinematographer magazine, Sakharov reveals other secrets about the show’s final scene and offers an in-depth overview of his work on the series.

Alik Sakharov, ASC, the main director of photography on HBO’s The Sopranos, has revealed that the show’s controversial ending was partly inspired by the mindbending climax of Stanley Kubrick’s metaphysical space opera 2001: A Space Odyssey — an homage he planned carefully with the show’s creator, David Chase. “We talked about 2001 quite a bit,” Sakharov says in an exclusive, hour-long podcast that can be heard by clicking on the accompanying link. In a wide-ranging interview with Stephen Pizzello, executive editor of American Cinematographer magazine, Sakharov reveals other secrets about the show’s final scene and offers an in-depth overview of his work on the series.

Alik Sakharov, ASC, the main director of photography on HBO’s The Sopranos, has revealed that the show’s controversial ending was partly inspired by the mindbending climax of Stanley Kubrick’s metaphysical space opera 2001: A Space Odyssey — an homage he planned carefully with the show’s creator, David Chase. “We talked about 2001 quite a bit,” Sakharov says in an exclusive, hour-long podcast that can be heard by clicking on the accompanying link. In a wide-ranging interview with Stephen Pizzello, executive editor of American Cinematographer magazine, Sakharov reveals other secrets about the show’s final scene and offers an in-depth overview of his work on the series.

Alik Sakharov, ASC, the main director of photography on HBO’s The Sopranos, has revealed that the show’s controversial ending was partly inspired by the mindbending climax of Stanley Kubrick’s metaphysical space opera 2001: A Space Odyssey — an homage he planned carefully with the show’s creator, David Chase. “We talked about 2001 quite a bit,” Sakharov says in an exclusive, hour-long podcast that can be heard by clicking on the accompanying link. In a wide-ranging interview with Stephen Pizzello, executive editor of American Cinematographer magazine, Sakharov reveals other secrets about the show’s final scene and offers an in-depth overview of his work on the series.