A quick word about working on the first video for Conor Oberst and Phoebe Bridgers’ Better Oblivion Community Center. Director Michelle Zauner came to me with an expansive treatment that we developed into a color saturated visual, pulling references from Kubrick’s Eyes Wide Shut and Cary Joji Fukunaga’s Maniac. Translating that on set in LA with a crew of (mostly) new faces was a fun challenge. On a personal note, i’d been a fan of Conor’s since first hearing his album Fevers and Mirrors in 2002, so obviously I was excited to be on set with him.
Check out some bts below, taken from a series of photos by the talented Dustin Liu, who’s work you can see here: www.dustinzliu.com
I keep at least one 35mm camera loaded with Illford HP5+ in my bag most of the time. So inevitably rolls end up with a few shots from the variety of sets I work on (when there happens to be a free minute to do so). It’s a nice reminder that one of the biggest benefits of my job is getting to work with so many great people. Here’s a collection of some of my favorites from roughly the last 9 months.
A wide range of cameras represented here - Olympus OM-2n, Minolta XD11 (rip/must replace), Fujifilm DL-290, and Olympus Stylus Epic Zoom 80.
In March 2018, Ryan Schnackenberg and I set out to make our second film together as Director & DP respectively. Our collaboration has been immensely important to me. Ryan’s vision of the story he wants to tell is always so clear, yet his set is very open to experimentation and we are never locked into one mindset visually. I love the results.
Here are a few behind the scenes images, all shot on my Fujifilm DL-290 Zoom loaded with Fuji Superia 400:
Boyish was named #10 on Pitchfork’s Best Music Videos of 2018 list. To have something that Michelle and I made be listed alongside Director/Dp teams like Rian Johnson & Steve Yedlin or Hiro Murai & Larkin Seiple is frankly overwhelming.
Below are some bts images from Boyish. The team that made this video is comprised of some of the most kind and talented people that i’ve ever had the pleasure to share a set with, and their hard work is entirely why this project has found the success that it has.
Some behind-the-scenes images from a few different productions that I found on my computer.
This blog wasn't around a year ago, but if it had been, this would've been the first post. In August 2017, The Roxy Cinema invited Michelle Zauner (Japanese Breakfast) and I to host a screening of our music video collaborations, and to curate the feature film of our choice to follow it. It's an exceedingly rare opportunity to see an anthology of your own work screened in that way, especially with projects that were never truly intended to be projected or consumed all at once. I loved it. At that point we had shot 5 projects together (that number is up to 8 at the time of writing this), and seeing them played on the big screen was a humbling reminder of where we began, where we were, and what lied ahead. We followed up our work with a screening of Paul Thomas Anderson's The Master, which I hadn't seen in theaters since it's original 70mm run. It remains one of my favorite films.
The Roxy published a write-up of the event, complete with a video of our Q&A, which you can check out here.
Photos taken behind the scenes over twenty-something days with an incredible crew. Presented chronologically across 4 rolls of film.
All shot on the Olympus OM-2n with Fuji Superia 800