00:00:00: Introduction 00:06:41: Conversation with Victoria Alonso, EVP, Production at Marvel Studios 00:22:51: Conversation with Peter Mavromates, Co-Producer of Mank 00:36:18: Conversation with Aaron Lovell, SVP of Post Production at Boardwalk Pictures 00:45:49: Conversation with Florian Schneider, Producer of Freaks: You’re One of Us, Stephan Kuch, Colorist at PANOPTIMO, Andreas Rudroff, Sound Mixer at Orange Sound Studio 00:58:31: Conversation with Jessie Schroeder, VP, Post Production at Pixar Animation Studios and Kori Rae, Producer at Pixar Animation Studios
Thanks to all of those that joined Dolby and our special industry guests as we discussed the evolution of entertainment and explored how world-renowned content creators are using Dolby technologies to expand their creative palette and empower immersive storytelling.
This PGA members-only event was the first in a series of events designed to both inspire and educate producers in film, television, and new media to create future-forward, immersive experiences in Dolby Vision and Dolby Atmos. We hope those who attended the live event found it valuable. For those who were unable to attend or would like to see it again we have provided a recording of the event.
Love, Death + Robots creator and Executive Producer Tim Miller, Executive Producer David Fincher, Supervising Director Jennifer Yuh Nelson and Director of “Ice” Robert Valley discuss Vol. 2 of the adult animated anthology.
Tim Miller, David Fincher, Jennifer Yuh Nelson and Jerome Denjean Talk ‘Love, Death & Robots’ Season 2 from Annecy
On Tuesday afternoon, the Annecy International Animation Film Festival streamed a candid, hour-long conversation between four of the key minds behind Netflix’s second season of “Love, Death & Robots.” Creator and executive producer Tim Miller (“Deadpool,” “Terminator: Dark Fate”), executive producer David Fincher (“The Social Network,” “Fight Club”), supervising director Jennifer Yuh Nelson (“Kung Fu Panda” 2 and 3) and visual effects supervisor Jerome Denjean from France’s Blur Studio engaged in an unmoderated conversation about the adult animation series, from its origins to its upcoming third season.
Frame & Reference is a conversation between Cinematographers hosted by Kenny McMillan. Each episode dives into the respective DP’s current and past work, as well as what influences and inspires them. These discussions are an entertaining and informative look into the world of making films through the lens of the people who shoot them.
Tim Ives, ASC, talks about the new Netflix series Halston, which tells the story of a man who leverages his single invented name into a worldwide fashion empire that’s synonymous with luxury, sex, status, and fame, literally defining the era. Outside of this series, you likely recognize Tim’s name from his work on series such as Stranger Things, House of Cards, and Manifest.
Darius Khondji is a cinematographer who is able to adapt images into almost any form to mimic the style of whichever director he works with, while subtly mixing in some of his own photographic traits. In this episode of cinematography style, I’ll break down the work of Khondji by examining his philosophy on photography as well as some of the gear which he uses to execute these ideas.
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Do you realize what you’re doing is illegal? The adult animated anthology returns with a vengeance. Love, Death + Robots Volume 2 coming May 14. Consume Irresponsibly. Presented by Tim Miller, David Fincher, Jennifer Miller, and Joshua Donen.
Director of Photography Erik Messerschmidt received the statuette at the Academy Awards for his work on Mank.
He had already won the American Society of Cinematographers’ Award for Outstanding Achievement in Cinematography in Feature Film, and the Satellite Award.
The other nominees were Joshua James Richards (Nomadland), Dariusz Wolski (News of the World), Sean Bobbitt (Judas and the Black Messiah), and Phedon Papamichael (The Trial of the Chicago 7).
Mank was nominated in 10 categories: Best Picture, Director, Actor, Supporting Actress, Production Design, Cinematography, Costume Design, Makeup and Hairstyling, Sound and Original Score. Production Designer Donald Graham Burt and Set Decorator Jan Pascale also won in the category of Best Production Design.
Erik’s acceptance speech:
“Wow! I wish I could cut this into five pieces because it’s such an honor to be nominated amongst all of you. It’s an incredible honor. David, thank you for creating an environment where we could do our best work. I got to go home and feel like I gave it my all, every night (David Fincher: ‘You did’). Ceán [Chaffin], thank you for the endless support. Eric Roth, thank you for the guidance. Amanda, Gary, what a privilege and a joy to watch you work. The entire cast, thank you for hitting your marks. It mattered! This really belongs to an extraordinary crew who I could not do anything without: Brian, Will, Alex, Dave, Gary, Dwayne, Danny, Jerry, and all of your team. You make my job easy. Thank you. And thank you to my beautiful wife, Naiara, who tolerates this crazy business and helped me get through this movie. So thank you so much. Thank you.”
MANK’s Thank You Cam Speech: Production Design
Erik Messerschmidt Backstage Interview
Erik Messerschmidt ‘Oscars: After Dark’ Winner Interview
Production Designer Donald Graham Burt and Set Decorator Jan Pascale received the statuette at the Academy Awards for their work on Mank.
They had already won the Art Directors Guild Award for Excellence in Production Design, Best Picture and Best Achievement in Decor/Design of a Period Feature Film at the inaugural Set Decorators Society of America Awards, a BAFTA Award and a Critics’ Choice Award.
The other nominees were Ma Rainey’s Black Bottom (Production Designer Mark Ricker, Set Decorators Karen O’Hara and Diana Stoughton), The Father (Production Designer Peter Francis, Set Decorator Cathy Featherstone), News of the World (Production Designer David Crank, Set Decorator Elizabeth Keenan), and Tenet (Production Designer Nathan Crowley, Set Decorator Kathy Lucas).
Mank was nominated in 10 categories: Best Picture, Director, Actor, Supporting Actress, Production Design, Cinematography, Costume Design, Makeup and Hairstyling, Sound and Original Score. Director of Photography Erik Messerschmidt also won in the category of Best Cinematography.
Pascale had been previously nominated in 2006, for her work on George Clooney‘s Good Night, and Good Luck (another black & white film) but this was Burt’s second Oscar, after his triumph in 2008 with David Fincher‘s The Curious Case of Benjamin Button, so he let Pascale have the full time for her acceptance speech:
“It’s a long way down here! First of all, thank you to David Fincher, Ceán Chaffin, and Don Burt, for trusting me with this amazing project. It was such an honor to work with such an amazing group of people. Thank you to my crew, who worked their tails off on this just to make it right. When I was young, I never realized that this was a career that was even a possibility. There were so many people who helped me along the way, and guided me, and I’m so grateful to all of them, and especially to my wife, Louise, who inspires me every day. Thank you so much.”
Join us for a panel discussion with this year’s Academy Award-nominated production designers and set decorators. Nominated films are: MANK (production design: Donald Graham Burt; set decoration: Jan Pascale), MA RAINEY’S BLACK BOTTOM (production design: Mark Ricker; set decoration: Karen O’Hara and Diana Stoughton), NEWS OF THE WORLD (production design: David Crank; set decoration: Elizabeth Keenan), TENET (production design: Nathan Crowley; set decoration: Kathy Lucas) and THE FATHER (production design: Peter Francis; set decoration: Cathy Featherstone). Moderated by Thomas A. Walsh and Jan Pascale Presented by the American Cinematheque and the Art Directors Guild and Set Decorators Society of America. Sponsored by Variety.
The Fincher Analyst 