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Everything Everywhere All at Once (2022) @a24

Screenwriters/Directors @dunkwun @funneedawgpix

Cinematographer @larksss
Steadicam Operator @steadijew
PD. @kisvarday
Editor Paul Rogers
Colorist @bickelpedia

Tech Specs
Camera: @arri (ARRI ALEXA Mini)
Lens: @angenieuxlenses @hawkanamorphic @truelensservices @cookeoptics @zeisscameralenses (ANGENIEUX Optimo 24-290mm T2.8 - CANON K-35 35mm T1.4 (TLS) - ZEISS Super Speed 35mm T1.3 - HAWK V‑Lite 2x anamorphic 55mm T2.2 - CANON K-35 35mm T1.4 (TLS) - COOKE Speed Panchro 32mm T2.3 - ZEISS Super Speed 35mm T1.3)

#learnfilmmaking

Everything Everywhere All at Once (2022) @a24

Screenwriters/Directors @dunkwun @funneedawgpix

Cinematographer @larksss
Steadicam Operator @steadijew
PD. @kisvarday
Editor Paul Rogers
Colorist @bickelpedia

Tech Specs
Camera: @arri (ARRI ALEXA Mini)
Lens: @angenieuxlenses @hawkanamorphic @truelensservices @cookeoptics @zeisscameralenses (ANGENIEUX Optimo 24-290mm T2.8 - CANON K-35 35mm T1.4 (TLS) - ZEISS Super Speed 35mm T1.3 - HAWK V‑Lite 2x anamorphic 55mm T2.2 - CANON K-35 35mm T1.4 (TLS) - COOKE Speed Panchro 32mm T2.3 - ZEISS Super Speed 35mm T1.3)

#learnfilmmaking

Everything Everywhere All at Once (2022) @a24

Screenwriters/Directors @dunkwun @funneedawgpix

Cinematographer @larksss
Steadicam Operator @steadijew
PD. @kisvarday
Editor Paul Rogers
Colorist @bickelpedia

Tech Specs
Camera: @arri (ARRI ALEXA Mini)
Lens: @angenieuxlenses @hawkanamorphic @truelensservices @cookeoptics @zeisscameralenses (ANGENIEUX Optimo 24-290mm T2.8 - CANON K-35 35mm T1.4 (TLS) - ZEISS Super Speed 35mm T1.3 - HAWK V‑Lite 2x anamorphic 55mm T2.2 - CANON K-35 35mm T1.4 (TLS) - COOKE Speed Panchro 32mm T2.3 - ZEISS Super Speed 35mm T1.3)

#learnfilmmaking

Everything Everywhere All at Once (2022) @a24

Screenwriters/Directors @dunkwun @funneedawgpix

Cinematographer @larksss
Steadicam Operator @steadijew
PD. @kisvarday
Editor Paul Rogers
Colorist @bickelpedia

Tech Specs
Camera: @arri (ARRI ALEXA Mini)
Lens: @angenieuxlenses @hawkanamorphic @truelensservices @cookeoptics @zeisscameralenses (ANGENIEUX Optimo 24-290mm T2.8 - CANON K-35 35mm T1.4 (TLS) - ZEISS Super Speed 35mm T1.3 - HAWK V‑Lite 2x anamorphic 55mm T2.2 - CANON K-35 35mm T1.4 (TLS) - COOKE Speed Panchro 32mm T2.3 - ZEISS Super Speed 35mm T1.3)

#learnfilmmaking

Everything Everywhere All at Once (2022) @a24

Screenwriters/Directors @dunkwun @funneedawgpix

Cinematographer @larksss
Steadicam Operator @steadijew
PD. @kisvarday
Editor Paul Rogers
Colorist @bickelpedia

Tech Specs
Camera: @arri (ARRI ALEXA Mini)
Lens: @angenieuxlenses @hawkanamorphic @truelensservices @cookeoptics @zeisscameralenses (ANGENIEUX Optimo 24-290mm T2.8 - CANON K-35 35mm T1.4 (TLS) - ZEISS Super Speed 35mm T1.3 - HAWK V‑Lite 2x anamorphic 55mm T2.2 - CANON K-35 35mm T1.4 (TLS) - COOKE Speed Panchro 32mm T2.3 - ZEISS Super Speed 35mm T1.3)

#learnfilmmaking

Everything Everywhere All at Once (2022) @a24

Screenwriters/Directors @dunkwun @funneedawgpix

Cinematographer @larksss
Steadicam Operator @steadijew
PD. @kisvarday
Editor Paul Rogers
Colorist @bickelpedia

Tech Specs
Camera: @arri (ARRI ALEXA Mini)
Lens: @angenieuxlenses @hawkanamorphic @truelensservices @cookeoptics @zeisscameralenses (ANGENIEUX Optimo 24-290mm T2.8 - CANON K-35 35mm T1.4 (TLS) - ZEISS Super Speed 35mm T1.3 - HAWK V‑Lite 2x anamorphic 55mm T2.2 - CANON K-35 35mm T1.4 (TLS) - COOKE Speed Panchro 32mm T2.3 - ZEISS Super Speed 35mm T1.3)

#learnfilmmaking

Everything Everywhere All at Once (2022) @a24

Screenwriters/Directors @dunkwun @funneedawgpix

Cinematographer @larksss
Steadicam Operator @steadijew
PD. @kisvarday
Editor Paul Rogers
Colorist @bickelpedia

Tech Specs
Camera: @arri (ARRI ALEXA Mini)
Lens: @angenieuxlenses @hawkanamorphic @truelensservices @cookeoptics @zeisscameralenses (ANGENIEUX Optimo 24-290mm T2.8 - CANON K-35 35mm T1.4 (TLS) - ZEISS Super Speed 35mm T1.3 - HAWK V‑Lite 2x anamorphic 55mm T2.2 - CANON K-35 35mm T1.4 (TLS) - COOKE Speed Panchro 32mm T2.3 - ZEISS Super Speed 35mm T1.3)

#learnfilmmaking

Everything Everywhere All at Once (2022) @a24

Screenwriters/Directors @dunkwun @funneedawgpix

Cinematographer @larksss
Steadicam Operator @steadijew
PD. @kisvarday
Editor Paul Rogers
Colorist @bickelpedia

Tech Specs
Camera: @arri (ARRI ALEXA Mini)
Lens: @angenieuxlenses @hawkanamorphic @truelensservices @cookeoptics @zeisscameralenses (ANGENIEUX Optimo 24-290mm T2.8 - CANON K-35 35mm T1.4 (TLS) - ZEISS Super Speed 35mm T1.3 - HAWK V‑Lite 2x anamorphic 55mm T2.2 - CANON K-35 35mm T1.4 (TLS) - COOKE Speed Panchro 32mm T2.3 - ZEISS Super Speed 35mm T1.3)

#learnfilmmaking

Are you watching?

Got dapper with Hiro and Donald for couple of days. Was a real treat to get the band back together from the early days. Working with our designer Page and costume designer Mary really made the images in front of the camera feel ripped the era, it was above and beyond.

Some fun bts of the Nudy tests with a young stand in as well. 🤓

Director: Hiro Murai
EP: Danielle Hinde/Jason Cole
Co-Executive Producers: Chad Taylor/Fam
Udeorji
Producer: Jason Cole
Producer: Danielle Hinde
Prod Supervisor: Roland Berry
Prod Coor: Daniel Brink
DP: Larkin Seiple
Choreographer: Shay Latukolan
Choreo Asst: Lars Bohte
Casting Director: Michael Beaudry
1st AD: Gavin Macleod Steadicam: Brian Freesh
1st AC” Matt Sanderson
2nd AC: Jonathan Dec
Gaffer: Matt Ardine
Key Grip: jmdgrip
PD: Page Buckner
Sound Mixer: John Rampey
Costume Designer: Mary Zophres
Lead Make Up: Michele Lewis
Make Up Asst: Petrice Bankhead
Makeup Asst: Deborah Humphries
Make Up (CG): Autumn Moultrie
Make Up Asst (CG): Dalia Younan
Lead Hairstylist: Andrea Mona Bowman
Hair Assist: Yvette Shelton
Hair Asst: Kamaaura Eley
Hairstylist (CG): Tiffany Daughtry
Groomer: Janice Kinjo
Stunt Coordinator: Ryan Sturz

CAST:
Club Mgr: Quinta Brunson
Pipe 1 Dancer: Monyett Crump
Pipe 2 Dancer: Rob Bynes
Stunt Performer: Xavier Charles
Stunt Performer/ Man with gun: Eric Watson
Smoking Man: Leopold Murphy
Lauahina Man: Landrv Barb

POST:
Edited at PARALLAX
Edited by Luke Lynch
Assistant Editor Victor Dos Santos
Executive Producer Graham Zeller
Post Producer Eliza Moley
Sound Designer: Trevor Gates/ Formosa
VFX by Monumental and Square VFX
Head of Post Production: Laïla Hamdaoui
Post Producer: Elisa Johanna Känd
VFX Creative Directors: Mathieu Jussreandot, Colin Journée
VFX Production Manager: Julie Delepine
On-set VFX Supervisor: Ben Kadie
CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay,
Isabelle Tchoungang
Roto: Sancio VFX
Color: Alex Bickel

Got dapper with Hiro and Donald for couple of days. Was a real treat to get the band back together from the early days. Working with our designer Page and costume designer Mary really made the images in front of the camera feel ripped the era, it was above and beyond.

Some fun bts of the Nudy tests with a young stand in as well. 🤓

Director: Hiro Murai
EP: Danielle Hinde/Jason Cole
Co-Executive Producers: Chad Taylor/Fam
Udeorji
Producer: Jason Cole
Producer: Danielle Hinde
Prod Supervisor: Roland Berry
Prod Coor: Daniel Brink
DP: Larkin Seiple
Choreographer: Shay Latukolan
Choreo Asst: Lars Bohte
Casting Director: Michael Beaudry
1st AD: Gavin Macleod Steadicam: Brian Freesh
1st AC” Matt Sanderson
2nd AC: Jonathan Dec
Gaffer: Matt Ardine
Key Grip: jmdgrip
PD: Page Buckner
Sound Mixer: John Rampey
Costume Designer: Mary Zophres
Lead Make Up: Michele Lewis
Make Up Asst: Petrice Bankhead
Makeup Asst: Deborah Humphries
Make Up (CG): Autumn Moultrie
Make Up Asst (CG): Dalia Younan
Lead Hairstylist: Andrea Mona Bowman
Hair Assist: Yvette Shelton
Hair Asst: Kamaaura Eley
Hairstylist (CG): Tiffany Daughtry
Groomer: Janice Kinjo
Stunt Coordinator: Ryan Sturz

CAST:
Club Mgr: Quinta Brunson
Pipe 1 Dancer: Monyett Crump
Pipe 2 Dancer: Rob Bynes
Stunt Performer: Xavier Charles
Stunt Performer/ Man with gun: Eric Watson
Smoking Man: Leopold Murphy
Lauahina Man: Landrv Barb

POST:
Edited at PARALLAX
Edited by Luke Lynch
Assistant Editor Victor Dos Santos
Executive Producer Graham Zeller
Post Producer Eliza Moley
Sound Designer: Trevor Gates/ Formosa
VFX by Monumental and Square VFX
Head of Post Production: Laïla Hamdaoui
Post Producer: Elisa Johanna Känd
VFX Creative Directors: Mathieu Jussreandot, Colin Journée
VFX Production Manager: Julie Delepine
On-set VFX Supervisor: Ben Kadie
CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay,
Isabelle Tchoungang
Roto: Sancio VFX
Color: Alex Bickel

Got dapper with Hiro and Donald for couple of days. Was a real treat to get the band back together from the early days. Working with our designer Page and costume designer Mary really made the images in front of the camera feel ripped the era, it was above and beyond.

Some fun bts of the Nudy tests with a young stand in as well. 🤓

Director: Hiro Murai
EP: Danielle Hinde/Jason Cole
Co-Executive Producers: Chad Taylor/Fam
Udeorji
Producer: Jason Cole
Producer: Danielle Hinde
Prod Supervisor: Roland Berry
Prod Coor: Daniel Brink
DP: Larkin Seiple
Choreographer: Shay Latukolan
Choreo Asst: Lars Bohte
Casting Director: Michael Beaudry
1st AD: Gavin Macleod Steadicam: Brian Freesh
1st AC” Matt Sanderson
2nd AC: Jonathan Dec
Gaffer: Matt Ardine
Key Grip: jmdgrip
PD: Page Buckner
Sound Mixer: John Rampey
Costume Designer: Mary Zophres
Lead Make Up: Michele Lewis
Make Up Asst: Petrice Bankhead
Makeup Asst: Deborah Humphries
Make Up (CG): Autumn Moultrie
Make Up Asst (CG): Dalia Younan
Lead Hairstylist: Andrea Mona Bowman
Hair Assist: Yvette Shelton
Hair Asst: Kamaaura Eley
Hairstylist (CG): Tiffany Daughtry
Groomer: Janice Kinjo
Stunt Coordinator: Ryan Sturz

CAST:
Club Mgr: Quinta Brunson
Pipe 1 Dancer: Monyett Crump
Pipe 2 Dancer: Rob Bynes
Stunt Performer: Xavier Charles
Stunt Performer/ Man with gun: Eric Watson
Smoking Man: Leopold Murphy
Lauahina Man: Landrv Barb

POST:
Edited at PARALLAX
Edited by Luke Lynch
Assistant Editor Victor Dos Santos
Executive Producer Graham Zeller
Post Producer Eliza Moley
Sound Designer: Trevor Gates/ Formosa
VFX by Monumental and Square VFX
Head of Post Production: Laïla Hamdaoui
Post Producer: Elisa Johanna Känd
VFX Creative Directors: Mathieu Jussreandot, Colin Journée
VFX Production Manager: Julie Delepine
On-set VFX Supervisor: Ben Kadie
CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay,
Isabelle Tchoungang
Roto: Sancio VFX
Color: Alex Bickel

Got dapper with Hiro and Donald for couple of days. Was a real treat to get the band back together from the early days. Working with our designer Page and costume designer Mary really made the images in front of the camera feel ripped the era, it was above and beyond.

Some fun bts of the Nudy tests with a young stand in as well. 🤓

Director: Hiro Murai
EP: Danielle Hinde/Jason Cole
Co-Executive Producers: Chad Taylor/Fam
Udeorji
Producer: Jason Cole
Producer: Danielle Hinde
Prod Supervisor: Roland Berry
Prod Coor: Daniel Brink
DP: Larkin Seiple
Choreographer: Shay Latukolan
Choreo Asst: Lars Bohte
Casting Director: Michael Beaudry
1st AD: Gavin Macleod Steadicam: Brian Freesh
1st AC” Matt Sanderson
2nd AC: Jonathan Dec
Gaffer: Matt Ardine
Key Grip: jmdgrip
PD: Page Buckner
Sound Mixer: John Rampey
Costume Designer: Mary Zophres
Lead Make Up: Michele Lewis
Make Up Asst: Petrice Bankhead
Makeup Asst: Deborah Humphries
Make Up (CG): Autumn Moultrie
Make Up Asst (CG): Dalia Younan
Lead Hairstylist: Andrea Mona Bowman
Hair Assist: Yvette Shelton
Hair Asst: Kamaaura Eley
Hairstylist (CG): Tiffany Daughtry
Groomer: Janice Kinjo
Stunt Coordinator: Ryan Sturz

CAST:
Club Mgr: Quinta Brunson
Pipe 1 Dancer: Monyett Crump
Pipe 2 Dancer: Rob Bynes
Stunt Performer: Xavier Charles
Stunt Performer/ Man with gun: Eric Watson
Smoking Man: Leopold Murphy
Lauahina Man: Landrv Barb

POST:
Edited at PARALLAX
Edited by Luke Lynch
Assistant Editor Victor Dos Santos
Executive Producer Graham Zeller
Post Producer Eliza Moley
Sound Designer: Trevor Gates/ Formosa
VFX by Monumental and Square VFX
Head of Post Production: Laïla Hamdaoui
Post Producer: Elisa Johanna Känd
VFX Creative Directors: Mathieu Jussreandot, Colin Journée
VFX Production Manager: Julie Delepine
On-set VFX Supervisor: Ben Kadie
CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay,
Isabelle Tchoungang
Roto: Sancio VFX
Color: Alex Bickel

Got dapper with Hiro and Donald for couple of days. Was a real treat to get the band back together from the early days. Working with our designer Page and costume designer Mary really made the images in front of the camera feel ripped the era, it was above and beyond.

Some fun bts of the Nudy tests with a young stand in as well. 🤓

Director: Hiro Murai
EP: Danielle Hinde/Jason Cole
Co-Executive Producers: Chad Taylor/Fam
Udeorji
Producer: Jason Cole
Producer: Danielle Hinde
Prod Supervisor: Roland Berry
Prod Coor: Daniel Brink
DP: Larkin Seiple
Choreographer: Shay Latukolan
Choreo Asst: Lars Bohte
Casting Director: Michael Beaudry
1st AD: Gavin Macleod Steadicam: Brian Freesh
1st AC” Matt Sanderson
2nd AC: Jonathan Dec
Gaffer: Matt Ardine
Key Grip: jmdgrip
PD: Page Buckner
Sound Mixer: John Rampey
Costume Designer: Mary Zophres
Lead Make Up: Michele Lewis
Make Up Asst: Petrice Bankhead
Makeup Asst: Deborah Humphries
Make Up (CG): Autumn Moultrie
Make Up Asst (CG): Dalia Younan
Lead Hairstylist: Andrea Mona Bowman
Hair Assist: Yvette Shelton
Hair Asst: Kamaaura Eley
Hairstylist (CG): Tiffany Daughtry
Groomer: Janice Kinjo
Stunt Coordinator: Ryan Sturz

CAST:
Club Mgr: Quinta Brunson
Pipe 1 Dancer: Monyett Crump
Pipe 2 Dancer: Rob Bynes
Stunt Performer: Xavier Charles
Stunt Performer/ Man with gun: Eric Watson
Smoking Man: Leopold Murphy
Lauahina Man: Landrv Barb

POST:
Edited at PARALLAX
Edited by Luke Lynch
Assistant Editor Victor Dos Santos
Executive Producer Graham Zeller
Post Producer Eliza Moley
Sound Designer: Trevor Gates/ Formosa
VFX by Monumental and Square VFX
Head of Post Production: Laïla Hamdaoui
Post Producer: Elisa Johanna Känd
VFX Creative Directors: Mathieu Jussreandot, Colin Journée
VFX Production Manager: Julie Delepine
On-set VFX Supervisor: Ben Kadie
CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay,
Isabelle Tchoungang
Roto: Sancio VFX
Color: Alex Bickel

Got dapper with Hiro and Donald for couple of days. Was a real treat to get the band back together from the early days. Working with our designer Page and costume designer Mary really made the images in front of the camera feel ripped the era, it was above and beyond.

Some fun bts of the Nudy tests with a young stand in as well. 🤓

Director: Hiro Murai
EP: Danielle Hinde/Jason Cole
Co-Executive Producers: Chad Taylor/Fam
Udeorji
Producer: Jason Cole
Producer: Danielle Hinde
Prod Supervisor: Roland Berry
Prod Coor: Daniel Brink
DP: Larkin Seiple
Choreographer: Shay Latukolan
Choreo Asst: Lars Bohte
Casting Director: Michael Beaudry
1st AD: Gavin Macleod Steadicam: Brian Freesh
1st AC” Matt Sanderson
2nd AC: Jonathan Dec
Gaffer: Matt Ardine
Key Grip: jmdgrip
PD: Page Buckner
Sound Mixer: John Rampey
Costume Designer: Mary Zophres
Lead Make Up: Michele Lewis
Make Up Asst: Petrice Bankhead
Makeup Asst: Deborah Humphries
Make Up (CG): Autumn Moultrie
Make Up Asst (CG): Dalia Younan
Lead Hairstylist: Andrea Mona Bowman
Hair Assist: Yvette Shelton
Hair Asst: Kamaaura Eley
Hairstylist (CG): Tiffany Daughtry
Groomer: Janice Kinjo
Stunt Coordinator: Ryan Sturz

CAST:
Club Mgr: Quinta Brunson
Pipe 1 Dancer: Monyett Crump
Pipe 2 Dancer: Rob Bynes
Stunt Performer: Xavier Charles
Stunt Performer/ Man with gun: Eric Watson
Smoking Man: Leopold Murphy
Lauahina Man: Landrv Barb

POST:
Edited at PARALLAX
Edited by Luke Lynch
Assistant Editor Victor Dos Santos
Executive Producer Graham Zeller
Post Producer Eliza Moley
Sound Designer: Trevor Gates/ Formosa
VFX by Monumental and Square VFX
Head of Post Production: Laïla Hamdaoui
Post Producer: Elisa Johanna Känd
VFX Creative Directors: Mathieu Jussreandot, Colin Journée
VFX Production Manager: Julie Delepine
On-set VFX Supervisor: Ben Kadie
CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay,
Isabelle Tchoungang
Roto: Sancio VFX
Color: Alex Bickel

Got dapper with Hiro and Donald for couple of days. Was a real treat to get the band back together from the early days. Working with our designer Page and costume designer Mary really made the images in front of the camera feel ripped the era, it was above and beyond.

Some fun bts of the Nudy tests with a young stand in as well. 🤓

Director: Hiro Murai
EP: Danielle Hinde/Jason Cole
Co-Executive Producers: Chad Taylor/Fam
Udeorji
Producer: Jason Cole
Producer: Danielle Hinde
Prod Supervisor: Roland Berry
Prod Coor: Daniel Brink
DP: Larkin Seiple
Choreographer: Shay Latukolan
Choreo Asst: Lars Bohte
Casting Director: Michael Beaudry
1st AD: Gavin Macleod Steadicam: Brian Freesh
1st AC” Matt Sanderson
2nd AC: Jonathan Dec
Gaffer: Matt Ardine
Key Grip: jmdgrip
PD: Page Buckner
Sound Mixer: John Rampey
Costume Designer: Mary Zophres
Lead Make Up: Michele Lewis
Make Up Asst: Petrice Bankhead
Makeup Asst: Deborah Humphries
Make Up (CG): Autumn Moultrie
Make Up Asst (CG): Dalia Younan
Lead Hairstylist: Andrea Mona Bowman
Hair Assist: Yvette Shelton
Hair Asst: Kamaaura Eley
Hairstylist (CG): Tiffany Daughtry
Groomer: Janice Kinjo
Stunt Coordinator: Ryan Sturz

CAST:
Club Mgr: Quinta Brunson
Pipe 1 Dancer: Monyett Crump
Pipe 2 Dancer: Rob Bynes
Stunt Performer: Xavier Charles
Stunt Performer/ Man with gun: Eric Watson
Smoking Man: Leopold Murphy
Lauahina Man: Landrv Barb

POST:
Edited at PARALLAX
Edited by Luke Lynch
Assistant Editor Victor Dos Santos
Executive Producer Graham Zeller
Post Producer Eliza Moley
Sound Designer: Trevor Gates/ Formosa
VFX by Monumental and Square VFX
Head of Post Production: Laïla Hamdaoui
Post Producer: Elisa Johanna Känd
VFX Creative Directors: Mathieu Jussreandot, Colin Journée
VFX Production Manager: Julie Delepine
On-set VFX Supervisor: Ben Kadie
CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay,
Isabelle Tchoungang
Roto: Sancio VFX
Color: Alex Bickel

Got dapper with Hiro and Donald for couple of days. Was a real treat to get the band back together from the early days. Working with our designer Page and costume designer Mary really made the images in front of the camera feel ripped the era, it was above and beyond.

Some fun bts of the Nudy tests with a young stand in as well. 🤓

Director: Hiro Murai
EP: Danielle Hinde/Jason Cole
Co-Executive Producers: Chad Taylor/Fam
Udeorji
Producer: Jason Cole
Producer: Danielle Hinde
Prod Supervisor: Roland Berry
Prod Coor: Daniel Brink
DP: Larkin Seiple
Choreographer: Shay Latukolan
Choreo Asst: Lars Bohte
Casting Director: Michael Beaudry
1st AD: Gavin Macleod Steadicam: Brian Freesh
1st AC” Matt Sanderson
2nd AC: Jonathan Dec
Gaffer: Matt Ardine
Key Grip: jmdgrip
PD: Page Buckner
Sound Mixer: John Rampey
Costume Designer: Mary Zophres
Lead Make Up: Michele Lewis
Make Up Asst: Petrice Bankhead
Makeup Asst: Deborah Humphries
Make Up (CG): Autumn Moultrie
Make Up Asst (CG): Dalia Younan
Lead Hairstylist: Andrea Mona Bowman
Hair Assist: Yvette Shelton
Hair Asst: Kamaaura Eley
Hairstylist (CG): Tiffany Daughtry
Groomer: Janice Kinjo
Stunt Coordinator: Ryan Sturz

CAST:
Club Mgr: Quinta Brunson
Pipe 1 Dancer: Monyett Crump
Pipe 2 Dancer: Rob Bynes
Stunt Performer: Xavier Charles
Stunt Performer/ Man with gun: Eric Watson
Smoking Man: Leopold Murphy
Lauahina Man: Landrv Barb

POST:
Edited at PARALLAX
Edited by Luke Lynch
Assistant Editor Victor Dos Santos
Executive Producer Graham Zeller
Post Producer Eliza Moley
Sound Designer: Trevor Gates/ Formosa
VFX by Monumental and Square VFX
Head of Post Production: Laïla Hamdaoui
Post Producer: Elisa Johanna Känd
VFX Creative Directors: Mathieu Jussreandot, Colin Journée
VFX Production Manager: Julie Delepine
On-set VFX Supervisor: Ben Kadie
CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay,
Isabelle Tchoungang
Roto: Sancio VFX
Color: Alex Bickel

Got dapper with Hiro and Donald for couple of days. Was a real treat to get the band back together from the early days. Working with our designer Page and costume designer Mary really made the images in front of the camera feel ripped the era, it was above and beyond.

Some fun bts of the Nudy tests with a young stand in as well. 🤓

Director: Hiro Murai
EP: Danielle Hinde/Jason Cole
Co-Executive Producers: Chad Taylor/Fam
Udeorji
Producer: Jason Cole
Producer: Danielle Hinde
Prod Supervisor: Roland Berry
Prod Coor: Daniel Brink
DP: Larkin Seiple
Choreographer: Shay Latukolan
Choreo Asst: Lars Bohte
Casting Director: Michael Beaudry
1st AD: Gavin Macleod Steadicam: Brian Freesh
1st AC” Matt Sanderson
2nd AC: Jonathan Dec
Gaffer: Matt Ardine
Key Grip: jmdgrip
PD: Page Buckner
Sound Mixer: John Rampey
Costume Designer: Mary Zophres
Lead Make Up: Michele Lewis
Make Up Asst: Petrice Bankhead
Makeup Asst: Deborah Humphries
Make Up (CG): Autumn Moultrie
Make Up Asst (CG): Dalia Younan
Lead Hairstylist: Andrea Mona Bowman
Hair Assist: Yvette Shelton
Hair Asst: Kamaaura Eley
Hairstylist (CG): Tiffany Daughtry
Groomer: Janice Kinjo
Stunt Coordinator: Ryan Sturz

CAST:
Club Mgr: Quinta Brunson
Pipe 1 Dancer: Monyett Crump
Pipe 2 Dancer: Rob Bynes
Stunt Performer: Xavier Charles
Stunt Performer/ Man with gun: Eric Watson
Smoking Man: Leopold Murphy
Lauahina Man: Landrv Barb

POST:
Edited at PARALLAX
Edited by Luke Lynch
Assistant Editor Victor Dos Santos
Executive Producer Graham Zeller
Post Producer Eliza Moley
Sound Designer: Trevor Gates/ Formosa
VFX by Monumental and Square VFX
Head of Post Production: Laïla Hamdaoui
Post Producer: Elisa Johanna Känd
VFX Creative Directors: Mathieu Jussreandot, Colin Journée
VFX Production Manager: Julie Delepine
On-set VFX Supervisor: Ben Kadie
CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay,
Isabelle Tchoungang
Roto: Sancio VFX
Color: Alex Bickel

Got dapper with Hiro and Donald for couple of days. Was a real treat to get the band back together from the early days. Working with our designer Page and costume designer Mary really made the images in front of the camera feel ripped the era, it was above and beyond.

Some fun bts of the Nudy tests with a young stand in as well. 🤓

Director: Hiro Murai
EP: Danielle Hinde/Jason Cole
Co-Executive Producers: Chad Taylor/Fam
Udeorji
Producer: Jason Cole
Producer: Danielle Hinde
Prod Supervisor: Roland Berry
Prod Coor: Daniel Brink
DP: Larkin Seiple
Choreographer: Shay Latukolan
Choreo Asst: Lars Bohte
Casting Director: Michael Beaudry
1st AD: Gavin Macleod Steadicam: Brian Freesh
1st AC” Matt Sanderson
2nd AC: Jonathan Dec
Gaffer: Matt Ardine
Key Grip: jmdgrip
PD: Page Buckner
Sound Mixer: John Rampey
Costume Designer: Mary Zophres
Lead Make Up: Michele Lewis
Make Up Asst: Petrice Bankhead
Makeup Asst: Deborah Humphries
Make Up (CG): Autumn Moultrie
Make Up Asst (CG): Dalia Younan
Lead Hairstylist: Andrea Mona Bowman
Hair Assist: Yvette Shelton
Hair Asst: Kamaaura Eley
Hairstylist (CG): Tiffany Daughtry
Groomer: Janice Kinjo
Stunt Coordinator: Ryan Sturz

CAST:
Club Mgr: Quinta Brunson
Pipe 1 Dancer: Monyett Crump
Pipe 2 Dancer: Rob Bynes
Stunt Performer: Xavier Charles
Stunt Performer/ Man with gun: Eric Watson
Smoking Man: Leopold Murphy
Lauahina Man: Landrv Barb

POST:
Edited at PARALLAX
Edited by Luke Lynch
Assistant Editor Victor Dos Santos
Executive Producer Graham Zeller
Post Producer Eliza Moley
Sound Designer: Trevor Gates/ Formosa
VFX by Monumental and Square VFX
Head of Post Production: Laïla Hamdaoui
Post Producer: Elisa Johanna Känd
VFX Creative Directors: Mathieu Jussreandot, Colin Journée
VFX Production Manager: Julie Delepine
On-set VFX Supervisor: Ben Kadie
CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay,
Isabelle Tchoungang
Roto: Sancio VFX
Color: Alex Bickel

Got weird with some friends in Austin. The clip is a teaser for the full video which is online called “Nine Ball”. This video was months in the making with @itsbongoboy . It was a spicy day and half shoot on film and the first time I truly lit by eye which was scary but necessary due to the amount of set ups.We had some titans and a small crew that really hustled to pull it off in the time given. Some truly wonderful collaborators came out to make this possible with @mfyuchs and @rtylerevans and our producer @justwilks. It was also a treat to work with actors that elevated everyone’s effort with their performance. Special thanks to @kodak_shootfilm and @bickelpedia for hooking it up!

The other photos express the high and lows of music videos 🫠

Got weird with some friends in Austin. The clip is a teaser for the full video which is online called “Nine Ball”. This video was months in the making with @itsbongoboy . It was a spicy day and half shoot on film and the first time I truly lit by eye which was scary but necessary due to the amount of set ups.We had some titans and a small crew that really hustled to pull it off in the time given. Some truly wonderful collaborators came out to make this possible with @mfyuchs and @rtylerevans and our producer @justwilks. It was also a treat to work with actors that elevated everyone’s effort with their performance. Special thanks to @kodak_shootfilm and @bickelpedia for hooking it up!

The other photos express the high and lows of music videos 🫠

It was a wild ride with @aliwong @steveyeun @beherelater @graaceyuun @alexkornreich @mariocontini @ac_dec @dit_la @hoyhiyoo @ro_do14 @thehikarism @jakeschreier @dit_la

This first frame is what it felt like to wrap To Leslie. It was a fanatical 19 day shoot with some 10 page days and many location moves heroically led by @filmbymichaelmorris .It was also beyond inspiring. With no time or money all you have is the performance and trying to capture what @andreariseborough transformed into was mystical. It was wonderfully simple and internal, the camera and the actress breathed together, a ten second scene would become a five minute scene to a point that some of my favorite scenes were cut to make room to just watch Andrea exist. The majority of this story is told in closes ups and for that we decided to shoot film to bring out all of the shape and color of Andrea’s face. Even though the weightit made all the handheld operating trickier I’ve never felt more alive on a set than operating next to Andrea. Please watch if you have the time, she left nothing on the table.

Dir.@filmbymichaelmorris
PD @emmarosemead
Gaffer @jakelyon513
Key Grip @patocaster1969
1st AC Matt Sanderson
2nd AC @ac_dec
Colorist @bickelpedia
Costumes by @nancea_designceo
Cut by @chrismccaleb
Make up by @makeupjunkie_j

And massive thanks to @kodak_shootfilm for finding all of the leftovers from massive films for us and @keslowcamera for making LTs happen for such a small film!

This first frame is what it felt like to wrap To Leslie. It was a fanatical 19 day shoot with some 10 page days and many location moves heroically led by @filmbymichaelmorris .It was also beyond inspiring. With no time or money all you have is the performance and trying to capture what @andreariseborough transformed into was mystical. It was wonderfully simple and internal, the camera and the actress breathed together, a ten second scene would become a five minute scene to a point that some of my favorite scenes were cut to make room to just watch Andrea exist. The majority of this story is told in closes ups and for that we decided to shoot film to bring out all of the shape and color of Andrea’s face. Even though the weightit made all the handheld operating trickier I’ve never felt more alive on a set than operating next to Andrea. Please watch if you have the time, she left nothing on the table.

Dir.@filmbymichaelmorris
PD @emmarosemead
Gaffer @jakelyon513
Key Grip @patocaster1969
1st AC Matt Sanderson
2nd AC @ac_dec
Colorist @bickelpedia
Costumes by @nancea_designceo
Cut by @chrismccaleb
Make up by @makeupjunkie_j

And massive thanks to @kodak_shootfilm for finding all of the leftovers from massive films for us and @keslowcamera for making LTs happen for such a small film!

This first frame is what it felt like to wrap To Leslie. It was a fanatical 19 day shoot with some 10 page days and many location moves heroically led by @filmbymichaelmorris .It was also beyond inspiring. With no time or money all you have is the performance and trying to capture what @andreariseborough transformed into was mystical. It was wonderfully simple and internal, the camera and the actress breathed together, a ten second scene would become a five minute scene to a point that some of my favorite scenes were cut to make room to just watch Andrea exist. The majority of this story is told in closes ups and for that we decided to shoot film to bring out all of the shape and color of Andrea’s face. Even though the weightit made all the handheld operating trickier I’ve never felt more alive on a set than operating next to Andrea. Please watch if you have the time, she left nothing on the table.

Dir.@filmbymichaelmorris
PD @emmarosemead
Gaffer @jakelyon513
Key Grip @patocaster1969
1st AC Matt Sanderson
2nd AC @ac_dec
Colorist @bickelpedia
Costumes by @nancea_designceo
Cut by @chrismccaleb
Make up by @makeupjunkie_j

And massive thanks to @kodak_shootfilm for finding all of the leftovers from massive films for us and @keslowcamera for making LTs happen for such a small film!

This first frame is what it felt like to wrap To Leslie. It was a fanatical 19 day shoot with some 10 page days and many location moves heroically led by @filmbymichaelmorris .It was also beyond inspiring. With no time or money all you have is the performance and trying to capture what @andreariseborough transformed into was mystical. It was wonderfully simple and internal, the camera and the actress breathed together, a ten second scene would become a five minute scene to a point that some of my favorite scenes were cut to make room to just watch Andrea exist. The majority of this story is told in closes ups and for that we decided to shoot film to bring out all of the shape and color of Andrea’s face. Even though the weightit made all the handheld operating trickier I’ve never felt more alive on a set than operating next to Andrea. Please watch if you have the time, she left nothing on the table.

Dir.@filmbymichaelmorris
PD @emmarosemead
Gaffer @jakelyon513
Key Grip @patocaster1969
1st AC Matt Sanderson
2nd AC @ac_dec
Colorist @bickelpedia
Costumes by @nancea_designceo
Cut by @chrismccaleb
Make up by @makeupjunkie_j

And massive thanks to @kodak_shootfilm for finding all of the leftovers from massive films for us and @keslowcamera for making LTs happen for such a small film!

This first frame is what it felt like to wrap To Leslie. It was a fanatical 19 day shoot with some 10 page days and many location moves heroically led by @filmbymichaelmorris .It was also beyond inspiring. With no time or money all you have is the performance and trying to capture what @andreariseborough transformed into was mystical. It was wonderfully simple and internal, the camera and the actress breathed together, a ten second scene would become a five minute scene to a point that some of my favorite scenes were cut to make room to just watch Andrea exist. The majority of this story is told in closes ups and for that we decided to shoot film to bring out all of the shape and color of Andrea’s face. Even though the weightit made all the handheld operating trickier I’ve never felt more alive on a set than operating next to Andrea. Please watch if you have the time, she left nothing on the table.

Dir.@filmbymichaelmorris
PD @emmarosemead
Gaffer @jakelyon513
Key Grip @patocaster1969
1st AC Matt Sanderson
2nd AC @ac_dec
Colorist @bickelpedia
Costumes by @nancea_designceo
Cut by @chrismccaleb
Make up by @makeupjunkie_j

And massive thanks to @kodak_shootfilm for finding all of the leftovers from massive films for us and @keslowcamera for making LTs happen for such a small film!

This first frame is what it felt like to wrap To Leslie. It was a fanatical 19 day shoot with some 10 page days and many location moves heroically led by @filmbymichaelmorris .It was also beyond inspiring. With no time or money all you have is the performance and trying to capture what @andreariseborough transformed into was mystical. It was wonderfully simple and internal, the camera and the actress breathed together, a ten second scene would become a five minute scene to a point that some of my favorite scenes were cut to make room to just watch Andrea exist. The majority of this story is told in closes ups and for that we decided to shoot film to bring out all of the shape and color of Andrea’s face. Even though the weightit made all the handheld operating trickier I’ve never felt more alive on a set than operating next to Andrea. Please watch if you have the time, she left nothing on the table.

Dir.@filmbymichaelmorris
PD @emmarosemead
Gaffer @jakelyon513
Key Grip @patocaster1969
1st AC Matt Sanderson
2nd AC @ac_dec
Colorist @bickelpedia
Costumes by @nancea_designceo
Cut by @chrismccaleb
Make up by @makeupjunkie_j

And massive thanks to @kodak_shootfilm for finding all of the leftovers from massive films for us and @keslowcamera for making LTs happen for such a small film!

This first frame is what it felt like to wrap To Leslie. It was a fanatical 19 day shoot with some 10 page days and many location moves heroically led by @filmbymichaelmorris .It was also beyond inspiring. With no time or money all you have is the performance and trying to capture what @andreariseborough transformed into was mystical. It was wonderfully simple and internal, the camera and the actress breathed together, a ten second scene would become a five minute scene to a point that some of my favorite scenes were cut to make room to just watch Andrea exist. The majority of this story is told in closes ups and for that we decided to shoot film to bring out all of the shape and color of Andrea’s face. Even though the weightit made all the handheld operating trickier I’ve never felt more alive on a set than operating next to Andrea. Please watch if you have the time, she left nothing on the table.

Dir.@filmbymichaelmorris
PD @emmarosemead
Gaffer @jakelyon513
Key Grip @patocaster1969
1st AC Matt Sanderson
2nd AC @ac_dec
Colorist @bickelpedia
Costumes by @nancea_designceo
Cut by @chrismccaleb
Make up by @makeupjunkie_j

And massive thanks to @kodak_shootfilm for finding all of the leftovers from massive films for us and @keslowcamera for making LTs happen for such a small film!

GASLIT BTS! Here is fun some BTS of our DC intro from the pilot. Matt Ross wanted something dynamic and dirty to build the energy of 1970’s DC but….

We ended up shooting in Los Angeles…. so we had to do our best to create a dirty, DC feel on the back lot.  

Luckily this was also the only day, out of 101, that it actually was cloudy. Which really helped sell the winter light.

Our Key Grip Julian rigged 3 cameras on our car and we slapped it on a biscuit rig to really create the feeling of Driving through DC.

The biscuit rig allows a car to be on a very flat platform with 4 wheels and has a stunt driver compartment that can be placed on any corner. It allows the camera to basically to point in any direction and lets the actor perform during some tricky maneuvers while being safely driven by our stunt driver.  You can see a video of it further on.

Im pretty sure the first take wasn’t useable as it spooked the hell out of Dan,  who played John dean,  as they were going real fast through traffic.  

We also chased him on the patriot car, operated by Mario, without a stabilized Head to create a more visceral feeling as he weaves through traffic.

In the BTS you’ll also see Jess operating a remote head on patriot car to create the transition shot from the streets to the letter opener.

The final video is from the drone sequence  we shot remotely over zoom in DC, we wanted to play with scale and showcase the weight of Watergate. Drone by @drewgiggity

GASLIT BTS! Here is fun some BTS of our DC intro from the pilot. Matt Ross wanted something dynamic and dirty to build the energy of 1970’s DC but….

We ended up shooting in Los Angeles…. so we had to do our best to create a dirty, DC feel on the back lot.  

Luckily this was also the only day, out of 101, that it actually was cloudy. Which really helped sell the winter light.

Our Key Grip Julian rigged 3 cameras on our car and we slapped it on a biscuit rig to really create the feeling of Driving through DC.

The biscuit rig allows a car to be on a very flat platform with 4 wheels and has a stunt driver compartment that can be placed on any corner. It allows the camera to basically to point in any direction and lets the actor perform during some tricky maneuvers while being safely driven by our stunt driver.  You can see a video of it further on.

Im pretty sure the first take wasn’t useable as it spooked the hell out of Dan,  who played John dean,  as they were going real fast through traffic.  

We also chased him on the patriot car, operated by Mario, without a stabilized Head to create a more visceral feeling as he weaves through traffic.

In the BTS you’ll also see Jess operating a remote head on patriot car to create the transition shot from the streets to the letter opener.

The final video is from the drone sequence  we shot remotely over zoom in DC, we wanted to play with scale and showcase the weight of Watergate. Drone by @drewgiggity

GASLIT BTS! Here is fun some BTS of our DC intro from the pilot. Matt Ross wanted something dynamic and dirty to build the energy of 1970’s DC but….

We ended up shooting in Los Angeles…. so we had to do our best to create a dirty, DC feel on the back lot.  

Luckily this was also the only day, out of 101, that it actually was cloudy. Which really helped sell the winter light.

Our Key Grip Julian rigged 3 cameras on our car and we slapped it on a biscuit rig to really create the feeling of Driving through DC.

The biscuit rig allows a car to be on a very flat platform with 4 wheels and has a stunt driver compartment that can be placed on any corner. It allows the camera to basically to point in any direction and lets the actor perform during some tricky maneuvers while being safely driven by our stunt driver.  You can see a video of it further on.

Im pretty sure the first take wasn’t useable as it spooked the hell out of Dan,  who played John dean,  as they were going real fast through traffic.  

We also chased him on the patriot car, operated by Mario, without a stabilized Head to create a more visceral feeling as he weaves through traffic.

In the BTS you’ll also see Jess operating a remote head on patriot car to create the transition shot from the streets to the letter opener.

The final video is from the drone sequence  we shot remotely over zoom in DC, we wanted to play with scale and showcase the weight of Watergate. Drone by @drewgiggity

GASLIT BTS! Here is fun some BTS of our DC intro from the pilot. Matt Ross wanted something dynamic and dirty to build the energy of 1970’s DC but….

We ended up shooting in Los Angeles…. so we had to do our best to create a dirty, DC feel on the back lot.  

Luckily this was also the only day, out of 101, that it actually was cloudy. Which really helped sell the winter light.

Our Key Grip Julian rigged 3 cameras on our car and we slapped it on a biscuit rig to really create the feeling of Driving through DC.

The biscuit rig allows a car to be on a very flat platform with 4 wheels and has a stunt driver compartment that can be placed on any corner. It allows the camera to basically to point in any direction and lets the actor perform during some tricky maneuvers while being safely driven by our stunt driver.  You can see a video of it further on.

Im pretty sure the first take wasn’t useable as it spooked the hell out of Dan,  who played John dean,  as they were going real fast through traffic.  

We also chased him on the patriot car, operated by Mario, without a stabilized Head to create a more visceral feeling as he weaves through traffic.

In the BTS you’ll also see Jess operating a remote head on patriot car to create the transition shot from the streets to the letter opener.

The final video is from the drone sequence  we shot remotely over zoom in DC, we wanted to play with scale and showcase the weight of Watergate. Drone by @drewgiggity

GASLIT BTS! Here is fun some BTS of our DC intro from the pilot. Matt Ross wanted something dynamic and dirty to build the energy of 1970’s DC but….

We ended up shooting in Los Angeles…. so we had to do our best to create a dirty, DC feel on the back lot.  

Luckily this was also the only day, out of 101, that it actually was cloudy. Which really helped sell the winter light.

Our Key Grip Julian rigged 3 cameras on our car and we slapped it on a biscuit rig to really create the feeling of Driving through DC.

The biscuit rig allows a car to be on a very flat platform with 4 wheels and has a stunt driver compartment that can be placed on any corner. It allows the camera to basically to point in any direction and lets the actor perform during some tricky maneuvers while being safely driven by our stunt driver.  You can see a video of it further on.

Im pretty sure the first take wasn’t useable as it spooked the hell out of Dan,  who played John dean,  as they were going real fast through traffic.  

We also chased him on the patriot car, operated by Mario, without a stabilized Head to create a more visceral feeling as he weaves through traffic.

In the BTS you’ll also see Jess operating a remote head on patriot car to create the transition shot from the streets to the letter opener.

The final video is from the drone sequence  we shot remotely over zoom in DC, we wanted to play with scale and showcase the weight of Watergate. Drone by @drewgiggity

GASLIT BTS! Here is fun some BTS of our DC intro from the pilot. Matt Ross wanted something dynamic and dirty to build the energy of 1970’s DC but….

We ended up shooting in Los Angeles…. so we had to do our best to create a dirty, DC feel on the back lot.  

Luckily this was also the only day, out of 101, that it actually was cloudy. Which really helped sell the winter light.

Our Key Grip Julian rigged 3 cameras on our car and we slapped it on a biscuit rig to really create the feeling of Driving through DC.

The biscuit rig allows a car to be on a very flat platform with 4 wheels and has a stunt driver compartment that can be placed on any corner. It allows the camera to basically to point in any direction and lets the actor perform during some tricky maneuvers while being safely driven by our stunt driver.  You can see a video of it further on.

Im pretty sure the first take wasn’t useable as it spooked the hell out of Dan,  who played John dean,  as they were going real fast through traffic.  

We also chased him on the patriot car, operated by Mario, without a stabilized Head to create a more visceral feeling as he weaves through traffic.

In the BTS you’ll also see Jess operating a remote head on patriot car to create the transition shot from the streets to the letter opener.

The final video is from the drone sequence  we shot remotely over zoom in DC, we wanted to play with scale and showcase the weight of Watergate. Drone by @drewgiggity

GASLIT BTS! Here is fun some BTS of our DC intro from the pilot. Matt Ross wanted something dynamic and dirty to build the energy of 1970’s DC but….

We ended up shooting in Los Angeles…. so we had to do our best to create a dirty, DC feel on the back lot.  

Luckily this was also the only day, out of 101, that it actually was cloudy. Which really helped sell the winter light.

Our Key Grip Julian rigged 3 cameras on our car and we slapped it on a biscuit rig to really create the feeling of Driving through DC.

The biscuit rig allows a car to be on a very flat platform with 4 wheels and has a stunt driver compartment that can be placed on any corner. It allows the camera to basically to point in any direction and lets the actor perform during some tricky maneuvers while being safely driven by our stunt driver.  You can see a video of it further on.

Im pretty sure the first take wasn’t useable as it spooked the hell out of Dan,  who played John dean,  as they were going real fast through traffic.  

We also chased him on the patriot car, operated by Mario, without a stabilized Head to create a more visceral feeling as he weaves through traffic.

In the BTS you’ll also see Jess operating a remote head on patriot car to create the transition shot from the streets to the letter opener.

The final video is from the drone sequence  we shot remotely over zoom in DC, we wanted to play with scale and showcase the weight of Watergate. Drone by @drewgiggity

GASLIT BTS! Here is fun some BTS of our DC intro from the pilot. Matt Ross wanted something dynamic and dirty to build the energy of 1970’s DC but….

We ended up shooting in Los Angeles…. so we had to do our best to create a dirty, DC feel on the back lot.  

Luckily this was also the only day, out of 101, that it actually was cloudy. Which really helped sell the winter light.

Our Key Grip Julian rigged 3 cameras on our car and we slapped it on a biscuit rig to really create the feeling of Driving through DC.

The biscuit rig allows a car to be on a very flat platform with 4 wheels and has a stunt driver compartment that can be placed on any corner. It allows the camera to basically to point in any direction and lets the actor perform during some tricky maneuvers while being safely driven by our stunt driver.  You can see a video of it further on.

Im pretty sure the first take wasn’t useable as it spooked the hell out of Dan,  who played John dean,  as they were going real fast through traffic.  

We also chased him on the patriot car, operated by Mario, without a stabilized Head to create a more visceral feeling as he weaves through traffic.

In the BTS you’ll also see Jess operating a remote head on patriot car to create the transition shot from the streets to the letter opener.

The final video is from the drone sequence  we shot remotely over zoom in DC, we wanted to play with scale and showcase the weight of Watergate. Drone by @drewgiggity

Emma’s parent skills are none other than that of a renaissance master.

A Improv comedian, Free style wrestler, Hostage negotiator, Snack Maker, Personal transporter, Elf finder, Attitude adjuster, Contortionist, and overall stunner.

She has made every new challenge a new skill. The goblins and I are lucky to have her.

Emma’s parent skills are none other than that of a renaissance master.

A Improv comedian, Free style wrestler, Hostage negotiator, Snack Maker, Personal transporter, Elf finder, Attitude adjuster, Contortionist, and overall stunner.

She has made every new challenge a new skill. The goblins and I are lucky to have her.

Emma’s parent skills are none other than that of a renaissance master.

A Improv comedian, Free style wrestler, Hostage negotiator, Snack Maker, Personal transporter, Elf finder, Attitude adjuster, Contortionist, and overall stunner.

She has made every new challenge a new skill. The goblins and I are lucky to have her.

Emma’s parent skills are none other than that of a renaissance master.

A Improv comedian, Free style wrestler, Hostage negotiator, Snack Maker, Personal transporter, Elf finder, Attitude adjuster, Contortionist, and overall stunner.

She has made every new challenge a new skill. The goblins and I are lucky to have her.

Emma’s parent skills are none other than that of a renaissance master.

A Improv comedian, Free style wrestler, Hostage negotiator, Snack Maker, Personal transporter, Elf finder, Attitude adjuster, Contortionist, and overall stunner.

She has made every new challenge a new skill. The goblins and I are lucky to have her.

Emma’s parent skills are none other than that of a renaissance master.

A Improv comedian, Free style wrestler, Hostage negotiator, Snack Maker, Personal transporter, Elf finder, Attitude adjuster, Contortionist, and overall stunner.

She has made every new challenge a new skill. The goblins and I are lucky to have her.

Emma’s parent skills are none other than that of a renaissance master.

A Improv comedian, Free style wrestler, Hostage negotiator, Snack Maker, Personal transporter, Elf finder, Attitude adjuster, Contortionist, and overall stunner.

She has made every new challenge a new skill. The goblins and I are lucky to have her.

Emma’s parent skills are none other than that of a renaissance master.

A Improv comedian, Free style wrestler, Hostage negotiator, Snack Maker, Personal transporter, Elf finder, Attitude adjuster, Contortionist, and overall stunner.

She has made every new challenge a new skill. The goblins and I are lucky to have her.

Emma’s parent skills are none other than that of a renaissance master.

A Improv comedian, Free style wrestler, Hostage negotiator, Snack Maker, Personal transporter, Elf finder, Attitude adjuster, Contortionist, and overall stunner.

She has made every new challenge a new skill. The goblins and I are lucky to have her.

This was the last scene we shot for Everything Everywhere All At Once.

It was 115 degrees, 4 hours south of LA at a location with no roads and and a crew of 6. We were there to shoot two rocks talking to each other. A group of friends trying really hard to make something great out of something so stupid. That’s probably the best way to encapsulate the full experience. I can’t wait to do it again.

The last video is from our scout. We had already lost two cars to the sand and had managed to make Stef’s Subaru pull through. We were all pretty quiet at this point just hoping we didn’t get stuck before we found the highway again.

More BTS to follow in which I document the absurdity of working with the Daniels and our amazing crew.

This was the last scene we shot for Everything Everywhere All At Once.

It was 115 degrees, 4 hours south of LA at a location with no roads and and a crew of 6. We were there to shoot two rocks talking to each other. A group of friends trying really hard to make something great out of something so stupid. That’s probably the best way to encapsulate the full experience. I can’t wait to do it again.

The last video is from our scout. We had already lost two cars to the sand and had managed to make Stef’s Subaru pull through. We were all pretty quiet at this point just hoping we didn’t get stuck before we found the highway again.

More BTS to follow in which I document the absurdity of working with the Daniels and our amazing crew.

This was the last scene we shot for Everything Everywhere All At Once.

It was 115 degrees, 4 hours south of LA at a location with no roads and and a crew of 6. We were there to shoot two rocks talking to each other. A group of friends trying really hard to make something great out of something so stupid. That’s probably the best way to encapsulate the full experience. I can’t wait to do it again.

The last video is from our scout. We had already lost two cars to the sand and had managed to make Stef’s Subaru pull through. We were all pretty quiet at this point just hoping we didn’t get stuck before we found the highway again.

More BTS to follow in which I document the absurdity of working with the Daniels and our amazing crew.

This was the last scene we shot for Everything Everywhere All At Once.

It was 115 degrees, 4 hours south of LA at a location with no roads and and a crew of 6. We were there to shoot two rocks talking to each other. A group of friends trying really hard to make something great out of something so stupid. That’s probably the best way to encapsulate the full experience. I can’t wait to do it again.

The last video is from our scout. We had already lost two cars to the sand and had managed to make Stef’s Subaru pull through. We were all pretty quiet at this point just hoping we didn’t get stuck before we found the highway again.

More BTS to follow in which I document the absurdity of working with the Daniels and our amazing crew.

This was the last scene we shot for Everything Everywhere All At Once.

It was 115 degrees, 4 hours south of LA at a location with no roads and and a crew of 6. We were there to shoot two rocks talking to each other. A group of friends trying really hard to make something great out of something so stupid. That’s probably the best way to encapsulate the full experience. I can’t wait to do it again.

The last video is from our scout. We had already lost two cars to the sand and had managed to make Stef’s Subaru pull through. We were all pretty quiet at this point just hoping we didn’t get stuck before we found the highway again.

More BTS to follow in which I document the absurdity of working with the Daniels and our amazing crew.

@funneedawgpix and @dunkwun are ready to melt your face 😵‍💫

Y’all wanna get weird?

Y’all wanna get weird?

Y’all wanna get weird?

Another Country.@reeferfeature