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Matt Mulcahey

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Everything posted by Matt Mulcahey

  1. Thanks for sharing this. I need to track a lot of these down. I've only seen 62 and have huge gaps in the 1930s and 1960s. I have watched all the winners since 1986 except Pan's Labyrinth and Life of Pi.
  2. KH, When I pitch stories to PR folks, they seem to still place a higher premium on print content when deciding whether to grant an interview request, even though an online story would seemingly have a much longer shelf life. I have a digital only subscription to ASC Mag so when I do a story for them I at least know I'll get to download a PDF of the story. I get PDFs of ICG Magazine as well as a member of 600. So while I don't have physical copies of a lot of my print pieces, I do have PDFs of most of them. Might be something to ask for in the future - seems like I get a better follow-through ratio when asking for PDFs as opposed to getting an outlet to ship me a mag I have a story in. Cheers, Matt
  3. Kim, A handful of them have run in the print version of Filmmaker Magazine, but most are online only. Thanks, Matt
  4. Daniel, There is audio of the interviews just for transcription purposes, but they're all phone interviews so there's not really a usable audio or video component. So sorry, just text. Thanks, Matt
  5. Like the title says, I've reached 100 entries in the interview column I write for Filmmaker Magazine, which seemed like a good time to share the link on here again. The last few months have featured talks with Matthew Libatique (A Star is Born), Sean Porter (Green Book), Joe Anderson (Old Man and the Gun), Linus Sandgren (First Man), and Michael Simmonds (Halloween). In the new two weeks I'll have new interviews with Lukasz Zal (Cold War), Sean Bobbitt (Widows), Robbie Ryan (The Favourite), James Laxton (If Beale Street Could Talk), and Greg Gardiner (Elf).
  6. Wanted to share these interviews I did recently for Filmmaker Magazine - one with Roger Deakins about Blade Runner 2049 and the other with gaffer-turned-dp Erik Messerschmidt about his work on the Netflix series Mindhunter.
  7. Wanted to share this interview I did with Greig Fraser for Filmmaker Magazine about his work on Lion and Rogue One. Lion was shot on the Alexa XT M (at least the India-lensed portion) with Panavision PVintage lenses. The Star Wars prequel is the first movie shot entirely on the Alexa 65 and used some of the same Panavision Ultra 70 lenses employed on The Hateful Eight. He also talks about using Digital Sputnik LEDs extensively on both films.
  8. Wanted to share a few cinematographer interviews I've done in the last few weeks for Filmmaker Magazine and my blog. Carol dp Ed Lachman (shot on 16mm) Anomalisa dp Joe Passarelli (stop-motion animation film co-directed by Charlie Kaufman and shot with Canon 7Ds) Bone Tomahawk dp Benji Bakshi (shot with Red Epic Dragon)
  9. These are great. Thanks for posting Jonathan.
  10. Wanted to share this interview I did with Roger Deakins for Filmmaker Magazine. I've been writing a weekly interview column for them - weighted toward cinematographers - if anyone's interested in checking it out.
  11. Wanted to share the links to a few recent DP interviews I've put together both for my blog and Filmmaker Magazine: Grand Budapest Hotel DP Robert Yeoman (35mm) While We’re Young DP Sam Levy (Arri Alexa) It Follows DP Mike Gioulakis (Arri Alexa) Cake DP Rachel Morison (Arri Alexa) Spring DP Aaron Moorhead (Red Epic) And lastly, an interview with steadicam operator Larry McConkey focusing on his work on Goodfellas for the film's 25th anniversary.
  12. Did my first two cinematographers for Filmmaker Magazine. Here are the links if anyone wants to check them out: Focus (shot on the Alexa and cut, largely on set, with Final Cut X) Maps to the Stars (shot with the Sony F55 by Peter Suschitzky, DP of The Empire Strikes Back, Rocky Horror Picture Show and every Cronenberg movie since Dead Ringers)
  13. Put together this interview with Gone Girl DP Jeff Cronenweth for my blog. He breaks down his thinking behind a half-dozen shots from Gone Girl, talks about the Dragon compared to the Epic and reflects on spending time as a kid on the set of Butch Cassidy and the Sundance Kid. Here's the link if anyone's interested.
  14. Wanted to share links to a few cinematographer interviews I've recently posted on my blog - all shot on Red Epics or Scarlets. Obvious Child Starry Eyes Bad Turn Worse
  15. Thought I'd share the links to my last few DP interviews on my blog Deep Fried Movies in case anyone wanted to check them out: The Young Ones (35mm anamorphic, shot in South Africa) and God Help the Girl (16mm, shot in Glasgow) cinematographer Giles Nuttgens Rich Hill (Red Scarlet) cinematographer Andrew Droz Palermo The One I Love (Epic) cinematographer Doug Emmett The Sacrament (C300) cinematographer Eric Robbins All Cheerleaders Die (Alexa) cinematographer Greg Ephraim Cheap Thrills (Alexa) cinematographer Andrew Wheeler
  16. Thanks for checking out the interviews, Stephen. Love your blog as well. Those "personal document studies" detailing the work of individual DPs are incredible.
  17. Five new entries in my series of DP interviews, with more on the way. There's a link for each below. Short Term 12, shot on Red Epic the horror remake Patrick, shot on Arri Alexa Cube director Vincenzo Natali's latest, Haunter, shot on Arri Alexa Return to Nuke 'Em High, shot on Arri Alexa Nurse 3D, shot on Arri Alexa in Real 3D
  18. Recently put up a few new DP interviews on my blog Deep Fried Movies - Big Ass Spider (Red One MX) and Big Bad Wolves (Arri Alexa). Here's Big Ass Spider. Here's Big Bad Wolves
  19. An interview I conducted for my blog with cinematographer Seamus Tierney about his work on the film In a World. Shot on RED Epic with Hawk C-series anamorphic lenses. Here's the link if anyone wants to check it out - http://bit.ly/1f7temj.
  20. Just posted an interview with cinematographer Hillary Spera about her film Black Rock on my blog, Deep Fried Movies. The movie is in the vein of a gender-reversed Deliverance and stars Lake Bell (In a World), Katie Aselton (The League) and Kate Bosworth. It was shot on a remote island in Maine on an Arri Alexa. The interview includes Spera breaking down the decision making process behind several individual frames from the movie. Here's the link if anyone is interested: http://bit.ly/19hPa9R
  21. I recently put up an interview with the cinematographer of the horror film You're Next - Andrew Palermo - on my blog Deep Fried Movies. The movie - which is still in theaters - was shot on a Red One MX with Zeiss Ultra Primes back in the early months of 2011. It's not an American Cinematographer Magazine-level of technical detail, but I thinks its specific enough about the craft that some of you folks might find it worthwhile. There aren't really that many sources for DP interviews out there and I'm hoping to add many more to the blog. Check it out here.
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