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willpughdop
Will Pugh
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 𝗼𝗳 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆
Rep’d Echo Artists, London
𝘐𝘳𝘷𝘪𝘯𝘦 𝘞𝘦𝘭𝘴𝘩’𝘴 𝘊𝘙𝘐𝘔𝘌, 𝘓𝘰𝘤𝘬𝘦𝘳𝘣𝘪𝘦, 𝘔𝘪𝘴𝘩𝘢 & 𝘛𝘩𝘦 𝘞𝘰𝘭𝘷𝘦𝘴, 𝘔𝘤𝘘𝘶𝘦𝘦𝘯, 𝘙𝘪𝘴𝘪𝘯𝘨 𝘗𝘩𝘰𝘦𝘯𝘪𝘹, 𝘔𝘺 𝘚𝘤𝘪𝘦𝘯𝘵𝘰𝘭𝘰𝘨𝘺 𝘔𝘰𝘷𝘪𝘦
𝗧𝗛𝗘 𝗕𝗔𝗟𝗟𝗢𝗢𝗡𝗜𝗦𝗧𝗦
Filmed in Lausanne and the West Country, John Dower’s latest film is in UK cinemas today, after its premiere last night at Curzon Mayfair. For me and the crew this was a super enjoyable project. It tells the tale of ballooning pioneers Bertrand Piccard & Brian Jones, who were the first men to circumnavigate the globe in a balloon - a feat which we learn is extremely difficult, not to mention insanely dangerous. Whilst John’s films are distinctly him, he has real range as a filmmaker, encompassing humour and an eye for the absurd, with great sensitivity and a serious duty of care towards his subjects. The Balloonists is another gear change; the film started out one way, then evolved and pared down to essentials. You will always hear JD in his films (or even spot him!) but he never gets in the way of his material and in this one, perhaps his ‘Straight Story’, we fly direct, buoyed on the winds of maestros Nick Foster and Sam Thompson’s lush score, to our final destination.
𝗥𝗶𝘀𝗲 𝗙𝗶𝗹𝗺𝘀 @risefilms.official
𝗔𝗻𝗼𝗻𝘆𝗺𝗼𝘂𝘀 𝗖𝗼𝗻𝘁𝗲𝗻𝘁 @anoncontent
𝗗𝗼𝗴𝘄𝗼𝗼𝗳 @dogwoof
𝗖𝘂𝗿𝘇𝗼𝗻 𝗖𝗶𝗻𝗲𝗺𝗮𝘀 @curzoncinemas
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 John Dower @halmack7
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 Guy Horlock @ghorlock
𝗘𝘅𝗲𝗰 Prod Teddy Leifer
𝗘𝗱𝗶𝘁𝗼𝗿 David Charap
𝗦𝗰𝗼𝗿𝗲 Nick Foster @nickfostermusic Sam Thompson @samjsthompson
𝗟𝗣 Kate Bullions @katebullions
𝗣𝗠 Rosanna Brook
𝗔𝗣 Sofia Bennett
𝗣𝗖 Krishna Khakhria
Thanks to a full complement of wonderful 𝗔𝗖/𝗢𝗽𝘀 🙏🏻
Dan DiMartino @dan_dimartino
Ben Crossley @bensbrokenboard
Sam Harding @samuel35mm
Freddie Parkin @freddie_parkin_dop
𝗦𝗼𝘂𝗻𝗱 💫
Steve Hopkins @steveanshu
Paul Thompson
Mark Sowden @marksowden
𝗔𝗱𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆 🙏🏻🔥
Paul Woodd-Walker @wooddythewalker
Alfredo de Juan @fredo.dop
𝗧𝗛𝗘 𝗕𝗔𝗟𝗟𝗢𝗢𝗡𝗜𝗦𝗧𝗦
Filmed in Lausanne and the West Country, John Dower’s latest film is in UK cinemas today, after its premiere last night at Curzon Mayfair. For me and the crew this was a super enjoyable project. It tells the tale of ballooning pioneers Bertrand Piccard & Brian Jones, who were the first men to circumnavigate the globe in a balloon - a feat which we learn is extremely difficult, not to mention insanely dangerous. Whilst John’s films are distinctly him, he has real range as a filmmaker, encompassing humour and an eye for the absurd, with great sensitivity and a serious duty of care towards his subjects. The Balloonists is another gear change; the film started out one way, then evolved and pared down to essentials. You will always hear JD in his films (or even spot him!) but he never gets in the way of his material and in this one, perhaps his ‘Straight Story’, we fly direct, buoyed on the winds of maestros Nick Foster and Sam Thompson’s lush score, to our final destination.
𝗥𝗶𝘀𝗲 𝗙𝗶𝗹𝗺𝘀 @risefilms.official
𝗔𝗻𝗼𝗻𝘆𝗺𝗼𝘂𝘀 𝗖𝗼𝗻𝘁𝗲𝗻𝘁 @anoncontent
𝗗𝗼𝗴𝘄𝗼𝗼𝗳 @dogwoof
𝗖𝘂𝗿𝘇𝗼𝗻 𝗖𝗶𝗻𝗲𝗺𝗮𝘀 @curzoncinemas
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 John Dower @halmack7
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 Guy Horlock @ghorlock
𝗘𝘅𝗲𝗰 Prod Teddy Leifer
𝗘𝗱𝗶𝘁𝗼𝗿 David Charap
𝗦𝗰𝗼𝗿𝗲 Nick Foster @nickfostermusic Sam Thompson @samjsthompson
𝗟𝗣 Kate Bullions @katebullions
𝗣𝗠 Rosanna Brook
𝗔𝗣 Sofia Bennett
𝗣𝗖 Krishna Khakhria
Thanks to a full complement of wonderful 𝗔𝗖/𝗢𝗽𝘀 🙏🏻
Dan DiMartino @dan_dimartino
Ben Crossley @bensbrokenboard
Sam Harding @samuel35mm
Freddie Parkin @freddie_parkin_dop
𝗦𝗼𝘂𝗻𝗱 💫
Steve Hopkins @steveanshu
Paul Thompson
Mark Sowden @marksowden
𝗔𝗱𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆 🙏🏻🔥
Paul Woodd-Walker @wooddythewalker
Alfredo de Juan @fredo.dop
𝗧𝗛𝗘 𝗕𝗔𝗟𝗟𝗢𝗢𝗡𝗜𝗦𝗧𝗦
Filmed in Lausanne and the West Country, John Dower’s latest film is in UK cinemas today, after its premiere last night at Curzon Mayfair. For me and the crew this was a super enjoyable project. It tells the tale of ballooning pioneers Bertrand Piccard & Brian Jones, who were the first men to circumnavigate the globe in a balloon - a feat which we learn is extremely difficult, not to mention insanely dangerous. Whilst John’s films are distinctly him, he has real range as a filmmaker, encompassing humour and an eye for the absurd, with great sensitivity and a serious duty of care towards his subjects. The Balloonists is another gear change; the film started out one way, then evolved and pared down to essentials. You will always hear JD in his films (or even spot him!) but he never gets in the way of his material and in this one, perhaps his ‘Straight Story’, we fly direct, buoyed on the winds of maestros Nick Foster and Sam Thompson’s lush score, to our final destination.
𝗥𝗶𝘀𝗲 𝗙𝗶𝗹𝗺𝘀 @risefilms.official
𝗔𝗻𝗼𝗻𝘆𝗺𝗼𝘂𝘀 𝗖𝗼𝗻𝘁𝗲𝗻𝘁 @anoncontent
𝗗𝗼𝗴𝘄𝗼𝗼𝗳 @dogwoof
𝗖𝘂𝗿𝘇𝗼𝗻 𝗖𝗶𝗻𝗲𝗺𝗮𝘀 @curzoncinemas
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 John Dower @halmack7
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 Guy Horlock @ghorlock
𝗘𝘅𝗲𝗰 Prod Teddy Leifer
𝗘𝗱𝗶𝘁𝗼𝗿 David Charap
𝗦𝗰𝗼𝗿𝗲 Nick Foster @nickfostermusic Sam Thompson @samjsthompson
𝗟𝗣 Kate Bullions @katebullions
𝗣𝗠 Rosanna Brook
𝗔𝗣 Sofia Bennett
𝗣𝗖 Krishna Khakhria
Thanks to a full complement of wonderful 𝗔𝗖/𝗢𝗽𝘀 🙏🏻
Dan DiMartino @dan_dimartino
Ben Crossley @bensbrokenboard
Sam Harding @samuel35mm
Freddie Parkin @freddie_parkin_dop
𝗦𝗼𝘂𝗻𝗱 💫
Steve Hopkins @steveanshu
Paul Thompson
Mark Sowden @marksowden
𝗔𝗱𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆 🙏🏻🔥
Paul Woodd-Walker @wooddythewalker
Alfredo de Juan @fredo.dop
𝗧𝗛𝗘 𝗕𝗔𝗟𝗟𝗢𝗢𝗡𝗜𝗦𝗧𝗦
Filmed in Lausanne and the West Country, John Dower’s latest film is in UK cinemas today, after its premiere last night at Curzon Mayfair. For me and the crew this was a super enjoyable project. It tells the tale of ballooning pioneers Bertrand Piccard & Brian Jones, who were the first men to circumnavigate the globe in a balloon - a feat which we learn is extremely difficult, not to mention insanely dangerous. Whilst John’s films are distinctly him, he has real range as a filmmaker, encompassing humour and an eye for the absurd, with great sensitivity and a serious duty of care towards his subjects. The Balloonists is another gear change; the film started out one way, then evolved and pared down to essentials. You will always hear JD in his films (or even spot him!) but he never gets in the way of his material and in this one, perhaps his ‘Straight Story’, we fly direct, buoyed on the winds of maestros Nick Foster and Sam Thompson’s lush score, to our final destination.
𝗥𝗶𝘀𝗲 𝗙𝗶𝗹𝗺𝘀 @risefilms.official
𝗔𝗻𝗼𝗻𝘆𝗺𝗼𝘂𝘀 𝗖𝗼𝗻𝘁𝗲𝗻𝘁 @anoncontent
𝗗𝗼𝗴𝘄𝗼𝗼𝗳 @dogwoof
𝗖𝘂𝗿𝘇𝗼𝗻 𝗖𝗶𝗻𝗲𝗺𝗮𝘀 @curzoncinemas
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 John Dower @halmack7
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 Guy Horlock @ghorlock
𝗘𝘅𝗲𝗰 Prod Teddy Leifer
𝗘𝗱𝗶𝘁𝗼𝗿 David Charap
𝗦𝗰𝗼𝗿𝗲 Nick Foster @nickfostermusic Sam Thompson @samjsthompson
𝗟𝗣 Kate Bullions @katebullions
𝗣𝗠 Rosanna Brook
𝗔𝗣 Sofia Bennett
𝗣𝗖 Krishna Khakhria
Thanks to a full complement of wonderful 𝗔𝗖/𝗢𝗽𝘀 🙏🏻
Dan DiMartino @dan_dimartino
Ben Crossley @bensbrokenboard
Sam Harding @samuel35mm
Freddie Parkin @freddie_parkin_dop
𝗦𝗼𝘂𝗻𝗱 💫
Steve Hopkins @steveanshu
Paul Thompson
Mark Sowden @marksowden
𝗔𝗱𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆 🙏🏻🔥
Paul Woodd-Walker @wooddythewalker
Alfredo de Juan @fredo.dop
𝗧𝗛𝗘 𝗕𝗔𝗟𝗟𝗢𝗢𝗡𝗜𝗦𝗧𝗦
Filmed in Lausanne and the West Country, John Dower’s latest film is in UK cinemas today, after its premiere last night at Curzon Mayfair. For me and the crew this was a super enjoyable project. It tells the tale of ballooning pioneers Bertrand Piccard & Brian Jones, who were the first men to circumnavigate the globe in a balloon - a feat which we learn is extremely difficult, not to mention insanely dangerous. Whilst John’s films are distinctly him, he has real range as a filmmaker, encompassing humour and an eye for the absurd, with great sensitivity and a serious duty of care towards his subjects. The Balloonists is another gear change; the film started out one way, then evolved and pared down to essentials. You will always hear JD in his films (or even spot him!) but he never gets in the way of his material and in this one, perhaps his ‘Straight Story’, we fly direct, buoyed on the winds of maestros Nick Foster and Sam Thompson’s lush score, to our final destination.
𝗥𝗶𝘀𝗲 𝗙𝗶𝗹𝗺𝘀 @risefilms.official
𝗔𝗻𝗼𝗻𝘆𝗺𝗼𝘂𝘀 𝗖𝗼𝗻𝘁𝗲𝗻𝘁 @anoncontent
𝗗𝗼𝗴𝘄𝗼𝗼𝗳 @dogwoof
𝗖𝘂𝗿𝘇𝗼𝗻 𝗖𝗶𝗻𝗲𝗺𝗮𝘀 @curzoncinemas
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 John Dower @halmack7
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 Guy Horlock @ghorlock
𝗘𝘅𝗲𝗰 Prod Teddy Leifer
𝗘𝗱𝗶𝘁𝗼𝗿 David Charap
𝗦𝗰𝗼𝗿𝗲 Nick Foster @nickfostermusic Sam Thompson @samjsthompson
𝗟𝗣 Kate Bullions @katebullions
𝗣𝗠 Rosanna Brook
𝗔𝗣 Sofia Bennett
𝗣𝗖 Krishna Khakhria
Thanks to a full complement of wonderful 𝗔𝗖/𝗢𝗽𝘀 🙏🏻
Dan DiMartino @dan_dimartino
Ben Crossley @bensbrokenboard
Sam Harding @samuel35mm
Freddie Parkin @freddie_parkin_dop
𝗦𝗼𝘂𝗻𝗱 💫
Steve Hopkins @steveanshu
Paul Thompson
Mark Sowden @marksowden
𝗔𝗱𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆 🙏🏻🔥
Paul Woodd-Walker @wooddythewalker
Alfredo de Juan @fredo.dop
𝗧𝗛𝗘 𝗕𝗔𝗟𝗟𝗢𝗢𝗡𝗜𝗦𝗧𝗦
Filmed in Lausanne and the West Country, John Dower’s latest film is in UK cinemas today, after its premiere last night at Curzon Mayfair. For me and the crew this was a super enjoyable project. It tells the tale of ballooning pioneers Bertrand Piccard & Brian Jones, who were the first men to circumnavigate the globe in a balloon - a feat which we learn is extremely difficult, not to mention insanely dangerous. Whilst John’s films are distinctly him, he has real range as a filmmaker, encompassing humour and an eye for the absurd, with great sensitivity and a serious duty of care towards his subjects. The Balloonists is another gear change; the film started out one way, then evolved and pared down to essentials. You will always hear JD in his films (or even spot him!) but he never gets in the way of his material and in this one, perhaps his ‘Straight Story’, we fly direct, buoyed on the winds of maestros Nick Foster and Sam Thompson’s lush score, to our final destination.
𝗥𝗶𝘀𝗲 𝗙𝗶𝗹𝗺𝘀 @risefilms.official
𝗔𝗻𝗼𝗻𝘆𝗺𝗼𝘂𝘀 𝗖𝗼𝗻𝘁𝗲𝗻𝘁 @anoncontent
𝗗𝗼𝗴𝘄𝗼𝗼𝗳 @dogwoof
𝗖𝘂𝗿𝘇𝗼𝗻 𝗖𝗶𝗻𝗲𝗺𝗮𝘀 @curzoncinemas
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 John Dower @halmack7
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 Guy Horlock @ghorlock
𝗘𝘅𝗲𝗰 Prod Teddy Leifer
𝗘𝗱𝗶𝘁𝗼𝗿 David Charap
𝗦𝗰𝗼𝗿𝗲 Nick Foster @nickfostermusic Sam Thompson @samjsthompson
𝗟𝗣 Kate Bullions @katebullions
𝗣𝗠 Rosanna Brook
𝗔𝗣 Sofia Bennett
𝗣𝗖 Krishna Khakhria
Thanks to a full complement of wonderful 𝗔𝗖/𝗢𝗽𝘀 🙏🏻
Dan DiMartino @dan_dimartino
Ben Crossley @bensbrokenboard
Sam Harding @samuel35mm
Freddie Parkin @freddie_parkin_dop
𝗦𝗼𝘂𝗻𝗱 💫
Steve Hopkins @steveanshu
Paul Thompson
Mark Sowden @marksowden
𝗔𝗱𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆 🙏🏻🔥
Paul Woodd-Walker @wooddythewalker
Alfredo de Juan @fredo.dop
𝗧𝗛𝗘 𝗕𝗔𝗟𝗟𝗢𝗢𝗡𝗜𝗦𝗧𝗦
Filmed in Lausanne and the West Country, John Dower’s latest film is in UK cinemas today, after its premiere last night at Curzon Mayfair. For me and the crew this was a super enjoyable project. It tells the tale of ballooning pioneers Bertrand Piccard & Brian Jones, who were the first men to circumnavigate the globe in a balloon - a feat which we learn is extremely difficult, not to mention insanely dangerous. Whilst John’s films are distinctly him, he has real range as a filmmaker, encompassing humour and an eye for the absurd, with great sensitivity and a serious duty of care towards his subjects. The Balloonists is another gear change; the film started out one way, then evolved and pared down to essentials. You will always hear JD in his films (or even spot him!) but he never gets in the way of his material and in this one, perhaps his ‘Straight Story’, we fly direct, buoyed on the winds of maestros Nick Foster and Sam Thompson’s lush score, to our final destination.
𝗥𝗶𝘀𝗲 𝗙𝗶𝗹𝗺𝘀 @risefilms.official
𝗔𝗻𝗼𝗻𝘆𝗺𝗼𝘂𝘀 𝗖𝗼𝗻𝘁𝗲𝗻𝘁 @anoncontent
𝗗𝗼𝗴𝘄𝗼𝗼𝗳 @dogwoof
𝗖𝘂𝗿𝘇𝗼𝗻 𝗖𝗶𝗻𝗲𝗺𝗮𝘀 @curzoncinemas
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 John Dower @halmack7
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 Guy Horlock @ghorlock
𝗘𝘅𝗲𝗰 Prod Teddy Leifer
𝗘𝗱𝗶𝘁𝗼𝗿 David Charap
𝗦𝗰𝗼𝗿𝗲 Nick Foster @nickfostermusic Sam Thompson @samjsthompson
𝗟𝗣 Kate Bullions @katebullions
𝗣𝗠 Rosanna Brook
𝗔𝗣 Sofia Bennett
𝗣𝗖 Krishna Khakhria
Thanks to a full complement of wonderful 𝗔𝗖/𝗢𝗽𝘀 🙏🏻
Dan DiMartino @dan_dimartino
Ben Crossley @bensbrokenboard
Sam Harding @samuel35mm
Freddie Parkin @freddie_parkin_dop
𝗦𝗼𝘂𝗻𝗱 💫
Steve Hopkins @steveanshu
Paul Thompson
Mark Sowden @marksowden
𝗔𝗱𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆 🙏🏻🔥
Paul Woodd-Walker @wooddythewalker
Alfredo de Juan @fredo.dop
𝗧𝗛𝗘 𝗕𝗔𝗟𝗟𝗢𝗢𝗡𝗜𝗦𝗧𝗦
Filmed in Lausanne and the West Country, John Dower’s latest film is in UK cinemas today, after its premiere last night at Curzon Mayfair. For me and the crew this was a super enjoyable project. It tells the tale of ballooning pioneers Bertrand Piccard & Brian Jones, who were the first men to circumnavigate the globe in a balloon - a feat which we learn is extremely difficult, not to mention insanely dangerous. Whilst John’s films are distinctly him, he has real range as a filmmaker, encompassing humour and an eye for the absurd, with great sensitivity and a serious duty of care towards his subjects. The Balloonists is another gear change; the film started out one way, then evolved and pared down to essentials. You will always hear JD in his films (or even spot him!) but he never gets in the way of his material and in this one, perhaps his ‘Straight Story’, we fly direct, buoyed on the winds of maestros Nick Foster and Sam Thompson’s lush score, to our final destination.
𝗥𝗶𝘀𝗲 𝗙𝗶𝗹𝗺𝘀 @risefilms.official
𝗔𝗻𝗼𝗻𝘆𝗺𝗼𝘂𝘀 𝗖𝗼𝗻𝘁𝗲𝗻𝘁 @anoncontent
𝗗𝗼𝗴𝘄𝗼𝗼𝗳 @dogwoof
𝗖𝘂𝗿𝘇𝗼𝗻 𝗖𝗶𝗻𝗲𝗺𝗮𝘀 @curzoncinemas
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 John Dower @halmack7
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 Guy Horlock @ghorlock
𝗘𝘅𝗲𝗰 Prod Teddy Leifer
𝗘𝗱𝗶𝘁𝗼𝗿 David Charap
𝗦𝗰𝗼𝗿𝗲 Nick Foster @nickfostermusic Sam Thompson @samjsthompson
𝗟𝗣 Kate Bullions @katebullions
𝗣𝗠 Rosanna Brook
𝗔𝗣 Sofia Bennett
𝗣𝗖 Krishna Khakhria
Thanks to a full complement of wonderful 𝗔𝗖/𝗢𝗽𝘀 🙏🏻
Dan DiMartino @dan_dimartino
Ben Crossley @bensbrokenboard
Sam Harding @samuel35mm
Freddie Parkin @freddie_parkin_dop
𝗦𝗼𝘂𝗻𝗱 💫
Steve Hopkins @steveanshu
Paul Thompson
Mark Sowden @marksowden
𝗔𝗱𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆 🙏🏻🔥
Paul Woodd-Walker @wooddythewalker
Alfredo de Juan @fredo.dop
𝗧𝗛𝗘 𝗕𝗔𝗟𝗟𝗢𝗢𝗡𝗜𝗦𝗧𝗦
Filmed in Lausanne and the West Country, John Dower’s latest film is in UK cinemas today, after its premiere last night at Curzon Mayfair. For me and the crew this was a super enjoyable project. It tells the tale of ballooning pioneers Bertrand Piccard & Brian Jones, who were the first men to circumnavigate the globe in a balloon - a feat which we learn is extremely difficult, not to mention insanely dangerous. Whilst John’s films are distinctly him, he has real range as a filmmaker, encompassing humour and an eye for the absurd, with great sensitivity and a serious duty of care towards his subjects. The Balloonists is another gear change; the film started out one way, then evolved and pared down to essentials. You will always hear JD in his films (or even spot him!) but he never gets in the way of his material and in this one, perhaps his ‘Straight Story’, we fly direct, buoyed on the winds of maestros Nick Foster and Sam Thompson’s lush score, to our final destination.
𝗥𝗶𝘀𝗲 𝗙𝗶𝗹𝗺𝘀 @risefilms.official
𝗔𝗻𝗼𝗻𝘆𝗺𝗼𝘂𝘀 𝗖𝗼𝗻𝘁𝗲𝗻𝘁 @anoncontent
𝗗𝗼𝗴𝘄𝗼𝗼𝗳 @dogwoof
𝗖𝘂𝗿𝘇𝗼𝗻 𝗖𝗶𝗻𝗲𝗺𝗮𝘀 @curzoncinemas
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 John Dower @halmack7
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 Guy Horlock @ghorlock
𝗘𝘅𝗲𝗰 Prod Teddy Leifer
𝗘𝗱𝗶𝘁𝗼𝗿 David Charap
𝗦𝗰𝗼𝗿𝗲 Nick Foster @nickfostermusic Sam Thompson @samjsthompson
𝗟𝗣 Kate Bullions @katebullions
𝗣𝗠 Rosanna Brook
𝗔𝗣 Sofia Bennett
𝗣𝗖 Krishna Khakhria
Thanks to a full complement of wonderful 𝗔𝗖/𝗢𝗽𝘀 🙏🏻
Dan DiMartino @dan_dimartino
Ben Crossley @bensbrokenboard
Sam Harding @samuel35mm
Freddie Parkin @freddie_parkin_dop
𝗦𝗼𝘂𝗻𝗱 💫
Steve Hopkins @steveanshu
Paul Thompson
Mark Sowden @marksowden
𝗔𝗱𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆 🙏🏻🔥
Paul Woodd-Walker @wooddythewalker
Alfredo de Juan @fredo.dop
𝗧𝗛𝗘 𝗕𝗔𝗟𝗟𝗢𝗢𝗡𝗜𝗦𝗧𝗦
Filmed in Lausanne and the West Country, John Dower’s latest film is in UK cinemas today, after its premiere last night at Curzon Mayfair. For me and the crew this was a super enjoyable project. It tells the tale of ballooning pioneers Bertrand Piccard & Brian Jones, who were the first men to circumnavigate the globe in a balloon - a feat which we learn is extremely difficult, not to mention insanely dangerous. Whilst John’s films are distinctly him, he has real range as a filmmaker, encompassing humour and an eye for the absurd, with great sensitivity and a serious duty of care towards his subjects. The Balloonists is another gear change; the film started out one way, then evolved and pared down to essentials. You will always hear JD in his films (or even spot him!) but he never gets in the way of his material and in this one, perhaps his ‘Straight Story’, we fly direct, buoyed on the winds of maestros Nick Foster and Sam Thompson’s lush score, to our final destination.
𝗥𝗶𝘀𝗲 𝗙𝗶𝗹𝗺𝘀 @risefilms.official
𝗔𝗻𝗼𝗻𝘆𝗺𝗼𝘂𝘀 𝗖𝗼𝗻𝘁𝗲𝗻𝘁 @anoncontent
𝗗𝗼𝗴𝘄𝗼𝗼𝗳 @dogwoof
𝗖𝘂𝗿𝘇𝗼𝗻 𝗖𝗶𝗻𝗲𝗺𝗮𝘀 @curzoncinemas
𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿 John Dower @halmack7
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿 Guy Horlock @ghorlock
𝗘𝘅𝗲𝗰 Prod Teddy Leifer
𝗘𝗱𝗶𝘁𝗼𝗿 David Charap
𝗦𝗰𝗼𝗿𝗲 Nick Foster @nickfostermusic Sam Thompson @samjsthompson
𝗟𝗣 Kate Bullions @katebullions
𝗣𝗠 Rosanna Brook
𝗔𝗣 Sofia Bennett
𝗣𝗖 Krishna Khakhria
Thanks to a full complement of wonderful 𝗔𝗖/𝗢𝗽𝘀 🙏🏻
Dan DiMartino @dan_dimartino
Ben Crossley @bensbrokenboard
Sam Harding @samuel35mm
Freddie Parkin @freddie_parkin_dop
𝗦𝗼𝘂𝗻𝗱 💫
Steve Hopkins @steveanshu
Paul Thompson
Mark Sowden @marksowden
𝗔𝗱𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗣𝗵𝗼𝘁𝗼𝗴𝗿𝗮𝗽𝗵𝘆 🙏🏻🔥
Paul Woodd-Walker @wooddythewalker
Alfredo de Juan @fredo.dop
We’re delighted to share that ‘THE BALLOONISTS’ is out in UK cinemas tomorrow, featuring Cinematography by echo’s Will Pugh.
Directed by John Dower and produced by Rise Films and Anonymous Content, the documentary follows adventurers Bertrand Piccard and Brian Jones on their groundbreaking attempt to become the first people to circumnavigate the globe by balloon.
The documentary premiered at the Toronto International Film Festival in 2025.
@willpughdop @halmack7 @risefilms.official @anoncontent
𝗘𝗠𝗠𝗬 𝗡𝗢𝗠𝗜𝗡𝗔𝗧𝗜𝗢𝗡
𝗢𝘂𝘁𝘀𝘁𝗮𝗻𝗱𝗶𝗻𝗴 𝗟𝗶𝗴𝗵𝘁𝗶𝗻𝗴 𝗗𝗶𝗿𝗲𝗰𝘁𝗶𝗼𝗻: 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗮𝗿𝘆
Turns out got an Emmy nom for the CNN version of 𝗟𝗼𝗰𝗸𝗲𝗿𝗯𝗶𝗲 (‘The Bombing of PanAm 103’). Bit of a random one, in the sense that the only lighting direction, as such, was directing myself to put up my own lights! Or ‘directing’ the available light relative to where we placed the cameras. But I’ll take it, thank you!
Thanks as ever to the real talent @halmack7 and @barn_fry his producer, the lovely people at @mindhousetv and to @jamiequantrill (DP) for 𝘩𝘪𝘴 outstanding contribution, and not least to all the ACs & soundies who we dragged around the world on this one xxx
𝗘𝗠𝗠𝗬 𝗡𝗢𝗠𝗜𝗡𝗔𝗧𝗜𝗢𝗡
𝗢𝘂𝘁𝘀𝘁𝗮𝗻𝗱𝗶𝗻𝗴 𝗟𝗶𝗴𝗵𝘁𝗶𝗻𝗴 𝗗𝗶𝗿𝗲𝗰𝘁𝗶𝗼𝗻: 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗮𝗿𝘆
Turns out got an Emmy nom for the CNN version of 𝗟𝗼𝗰𝗸𝗲𝗿𝗯𝗶𝗲 (‘The Bombing of PanAm 103’). Bit of a random one, in the sense that the only lighting direction, as such, was directing myself to put up my own lights! Or ‘directing’ the available light relative to where we placed the cameras. But I’ll take it, thank you!
Thanks as ever to the real talent @halmack7 and @barn_fry his producer, the lovely people at @mindhousetv and to @jamiequantrill (DP) for 𝘩𝘪𝘴 outstanding contribution, and not least to all the ACs & soundies who we dragged around the world on this one xxx
𝗢𝗡𝗘 𝗜𝗡 𝗔 𝗠𝗜𝗟𝗟𝗜𝗢𝗡
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
Thrilled for 𝗝𝗮𝗰𝗸 𝗠𝗮𝗰𝗜𝗻𝗻𝗲𝘀 & 𝗜𝘁𝗮𝗯 𝗔𝘇𝘇𝗮𝗺 that their ten year labour of love has been selected for 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗰𝗼𝗺𝗽𝗲𝘁𝗶𝘁𝗶𝗼𝗻 in the 𝗪𝗼𝗿𝗹𝗱 𝗖𝗶𝗻𝗲𝗺𝗮 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗮𝗿𝘆 category.
𝗢𝗻𝗲 𝗜𝗻 𝗔 𝗠𝗶𝗹𝗹𝗶𝗼𝗻 follows the fortunes of Israa, a young Syrian girl, as she and her family are uprooted by civil war, relocating to Germany as refugees, with all the struggle and complexity such a displacement entails.
I entered the film’s fragile bubble towards the end of its journey, flying to Cologne in November 2023 and again in March 2025, to shoot studio interviews with Israa, and also her mother, father, sister and husband.
It’s a rare and amazing thing to follow a story over ten years, an incredible achievement for Jack & Itab, who’s own personal family journey through these ten years was far from easy, especially for Itab, who not only is Syrian herself but also became a mother to their son Rumi along the way, and somehow managed to keep making this film. Jack not only co-directed, co-produced and became a dad, but also self-shot the project (I hear he’s not bad at that either!).
There felt something strangely synchronous about these two groups - the subjects and the filmmakers - caught up in the turmoil of civil war; that despite their obvious differences, were both negotiating something universally complex: family.
Best of luck to the whole team at Sundance!
𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀
Storyville/FRONTLINE Features
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
Raney Aronson-Rath
Will Anderson
James Bluemel
Andrew Palmer
𝗘𝗱𝗶𝘁𝗼𝗿𝘀
Alec Rossiter
Iain Pettifer
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Simon Russell
…and obviously many more!
Thanks to 𝗨𝗹𝗶 𝗣𝗳𝗹𝗮𝗻𝘇 & 𝗠𝗮𝗱𝗱𝗶𝗲 𝗜𝗿𝗲𝗹𝗮𝗻𝗱 at 𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀 and 𝗡𝗮𝗻𝗶 & 𝗚𝗲𝗼𝗿𝗴 𝗪𝗲𝘀𝘀𝗲𝗹 at 𝗣𝗹𝗮𝗻𝗲𝘁 𝗡𝗶𝗽𝗽𝗲𝘀, Cologne. 🙏🏻
#sonyvenice #angenieuxoptimo
#leicam6 #portra800
𝗢𝗡𝗘 𝗜𝗡 𝗔 𝗠𝗜𝗟𝗟𝗜𝗢𝗡
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
Thrilled for 𝗝𝗮𝗰𝗸 𝗠𝗮𝗰𝗜𝗻𝗻𝗲𝘀 & 𝗜𝘁𝗮𝗯 𝗔𝘇𝘇𝗮𝗺 that their ten year labour of love has been selected for 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗰𝗼𝗺𝗽𝗲𝘁𝗶𝘁𝗶𝗼𝗻 in the 𝗪𝗼𝗿𝗹𝗱 𝗖𝗶𝗻𝗲𝗺𝗮 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗮𝗿𝘆 category.
𝗢𝗻𝗲 𝗜𝗻 𝗔 𝗠𝗶𝗹𝗹𝗶𝗼𝗻 follows the fortunes of Israa, a young Syrian girl, as she and her family are uprooted by civil war, relocating to Germany as refugees, with all the struggle and complexity such a displacement entails.
I entered the film’s fragile bubble towards the end of its journey, flying to Cologne in November 2023 and again in March 2025, to shoot studio interviews with Israa, and also her mother, father, sister and husband.
It’s a rare and amazing thing to follow a story over ten years, an incredible achievement for Jack & Itab, who’s own personal family journey through these ten years was far from easy, especially for Itab, who not only is Syrian herself but also became a mother to their son Rumi along the way, and somehow managed to keep making this film. Jack not only co-directed, co-produced and became a dad, but also self-shot the project (I hear he’s not bad at that either!).
There felt something strangely synchronous about these two groups - the subjects and the filmmakers - caught up in the turmoil of civil war; that despite their obvious differences, were both negotiating something universally complex: family.
Best of luck to the whole team at Sundance!
𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀
Storyville/FRONTLINE Features
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
Raney Aronson-Rath
Will Anderson
James Bluemel
Andrew Palmer
𝗘𝗱𝗶𝘁𝗼𝗿𝘀
Alec Rossiter
Iain Pettifer
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Simon Russell
…and obviously many more!
Thanks to 𝗨𝗹𝗶 𝗣𝗳𝗹𝗮𝗻𝘇 & 𝗠𝗮𝗱𝗱𝗶𝗲 𝗜𝗿𝗲𝗹𝗮𝗻𝗱 at 𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀 and 𝗡𝗮𝗻𝗶 & 𝗚𝗲𝗼𝗿𝗴 𝗪𝗲𝘀𝘀𝗲𝗹 at 𝗣𝗹𝗮𝗻𝗲𝘁 𝗡𝗶𝗽𝗽𝗲𝘀, Cologne. 🙏🏻
#sonyvenice #angenieuxoptimo
#leicam6 #portra800
𝗢𝗡𝗘 𝗜𝗡 𝗔 𝗠𝗜𝗟𝗟𝗜𝗢𝗡
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
Thrilled for 𝗝𝗮𝗰𝗸 𝗠𝗮𝗰𝗜𝗻𝗻𝗲𝘀 & 𝗜𝘁𝗮𝗯 𝗔𝘇𝘇𝗮𝗺 that their ten year labour of love has been selected for 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗰𝗼𝗺𝗽𝗲𝘁𝗶𝘁𝗶𝗼𝗻 in the 𝗪𝗼𝗿𝗹𝗱 𝗖𝗶𝗻𝗲𝗺𝗮 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗮𝗿𝘆 category.
𝗢𝗻𝗲 𝗜𝗻 𝗔 𝗠𝗶𝗹𝗹𝗶𝗼𝗻 follows the fortunes of Israa, a young Syrian girl, as she and her family are uprooted by civil war, relocating to Germany as refugees, with all the struggle and complexity such a displacement entails.
I entered the film’s fragile bubble towards the end of its journey, flying to Cologne in November 2023 and again in March 2025, to shoot studio interviews with Israa, and also her mother, father, sister and husband.
It’s a rare and amazing thing to follow a story over ten years, an incredible achievement for Jack & Itab, who’s own personal family journey through these ten years was far from easy, especially for Itab, who not only is Syrian herself but also became a mother to their son Rumi along the way, and somehow managed to keep making this film. Jack not only co-directed, co-produced and became a dad, but also self-shot the project (I hear he’s not bad at that either!).
There felt something strangely synchronous about these two groups - the subjects and the filmmakers - caught up in the turmoil of civil war; that despite their obvious differences, were both negotiating something universally complex: family.
Best of luck to the whole team at Sundance!
𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀
Storyville/FRONTLINE Features
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
Raney Aronson-Rath
Will Anderson
James Bluemel
Andrew Palmer
𝗘𝗱𝗶𝘁𝗼𝗿𝘀
Alec Rossiter
Iain Pettifer
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Simon Russell
…and obviously many more!
Thanks to 𝗨𝗹𝗶 𝗣𝗳𝗹𝗮𝗻𝘇 & 𝗠𝗮𝗱𝗱𝗶𝗲 𝗜𝗿𝗲𝗹𝗮𝗻𝗱 at 𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀 and 𝗡𝗮𝗻𝗶 & 𝗚𝗲𝗼𝗿𝗴 𝗪𝗲𝘀𝘀𝗲𝗹 at 𝗣𝗹𝗮𝗻𝗲𝘁 𝗡𝗶𝗽𝗽𝗲𝘀, Cologne. 🙏🏻
#sonyvenice #angenieuxoptimo
#leicam6 #portra800
𝗢𝗡𝗘 𝗜𝗡 𝗔 𝗠𝗜𝗟𝗟𝗜𝗢𝗡
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
Thrilled for 𝗝𝗮𝗰𝗸 𝗠𝗮𝗰𝗜𝗻𝗻𝗲𝘀 & 𝗜𝘁𝗮𝗯 𝗔𝘇𝘇𝗮𝗺 that their ten year labour of love has been selected for 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗰𝗼𝗺𝗽𝗲𝘁𝗶𝘁𝗶𝗼𝗻 in the 𝗪𝗼𝗿𝗹𝗱 𝗖𝗶𝗻𝗲𝗺𝗮 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗮𝗿𝘆 category.
𝗢𝗻𝗲 𝗜𝗻 𝗔 𝗠𝗶𝗹𝗹𝗶𝗼𝗻 follows the fortunes of Israa, a young Syrian girl, as she and her family are uprooted by civil war, relocating to Germany as refugees, with all the struggle and complexity such a displacement entails.
I entered the film’s fragile bubble towards the end of its journey, flying to Cologne in November 2023 and again in March 2025, to shoot studio interviews with Israa, and also her mother, father, sister and husband.
It’s a rare and amazing thing to follow a story over ten years, an incredible achievement for Jack & Itab, who’s own personal family journey through these ten years was far from easy, especially for Itab, who not only is Syrian herself but also became a mother to their son Rumi along the way, and somehow managed to keep making this film. Jack not only co-directed, co-produced and became a dad, but also self-shot the project (I hear he’s not bad at that either!).
There felt something strangely synchronous about these two groups - the subjects and the filmmakers - caught up in the turmoil of civil war; that despite their obvious differences, were both negotiating something universally complex: family.
Best of luck to the whole team at Sundance!
𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀
Storyville/FRONTLINE Features
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
Raney Aronson-Rath
Will Anderson
James Bluemel
Andrew Palmer
𝗘𝗱𝗶𝘁𝗼𝗿𝘀
Alec Rossiter
Iain Pettifer
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Simon Russell
…and obviously many more!
Thanks to 𝗨𝗹𝗶 𝗣𝗳𝗹𝗮𝗻𝘇 & 𝗠𝗮𝗱𝗱𝗶𝗲 𝗜𝗿𝗲𝗹𝗮𝗻𝗱 at 𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀 and 𝗡𝗮𝗻𝗶 & 𝗚𝗲𝗼𝗿𝗴 𝗪𝗲𝘀𝘀𝗲𝗹 at 𝗣𝗹𝗮𝗻𝗲𝘁 𝗡𝗶𝗽𝗽𝗲𝘀, Cologne. 🙏🏻
#sonyvenice #angenieuxoptimo
#leicam6 #portra800
𝗢𝗡𝗘 𝗜𝗡 𝗔 𝗠𝗜𝗟𝗟𝗜𝗢𝗡
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
Thrilled for 𝗝𝗮𝗰𝗸 𝗠𝗮𝗰𝗜𝗻𝗻𝗲𝘀 & 𝗜𝘁𝗮𝗯 𝗔𝘇𝘇𝗮𝗺 that their ten year labour of love has been selected for 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗰𝗼𝗺𝗽𝗲𝘁𝗶𝘁𝗶𝗼𝗻 in the 𝗪𝗼𝗿𝗹𝗱 𝗖𝗶𝗻𝗲𝗺𝗮 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗮𝗿𝘆 category.
𝗢𝗻𝗲 𝗜𝗻 𝗔 𝗠𝗶𝗹𝗹𝗶𝗼𝗻 follows the fortunes of Israa, a young Syrian girl, as she and her family are uprooted by civil war, relocating to Germany as refugees, with all the struggle and complexity such a displacement entails.
I entered the film’s fragile bubble towards the end of its journey, flying to Cologne in November 2023 and again in March 2025, to shoot studio interviews with Israa, and also her mother, father, sister and husband.
It’s a rare and amazing thing to follow a story over ten years, an incredible achievement for Jack & Itab, who’s own personal family journey through these ten years was far from easy, especially for Itab, who not only is Syrian herself but also became a mother to their son Rumi along the way, and somehow managed to keep making this film. Jack not only co-directed, co-produced and became a dad, but also self-shot the project (I hear he’s not bad at that either!).
There felt something strangely synchronous about these two groups - the subjects and the filmmakers - caught up in the turmoil of civil war; that despite their obvious differences, were both negotiating something universally complex: family.
Best of luck to the whole team at Sundance!
𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀
Storyville/FRONTLINE Features
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
Raney Aronson-Rath
Will Anderson
James Bluemel
Andrew Palmer
𝗘𝗱𝗶𝘁𝗼𝗿𝘀
Alec Rossiter
Iain Pettifer
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Simon Russell
…and obviously many more!
Thanks to 𝗨𝗹𝗶 𝗣𝗳𝗹𝗮𝗻𝘇 & 𝗠𝗮𝗱𝗱𝗶𝗲 𝗜𝗿𝗲𝗹𝗮𝗻𝗱 at 𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀 and 𝗡𝗮𝗻𝗶 & 𝗚𝗲𝗼𝗿𝗴 𝗪𝗲𝘀𝘀𝗲𝗹 at 𝗣𝗹𝗮𝗻𝗲𝘁 𝗡𝗶𝗽𝗽𝗲𝘀, Cologne. 🙏🏻
#sonyvenice #angenieuxoptimo
#leicam6 #portra800
𝗢𝗡𝗘 𝗜𝗡 𝗔 𝗠𝗜𝗟𝗟𝗜𝗢𝗡
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
Thrilled for 𝗝𝗮𝗰𝗸 𝗠𝗮𝗰𝗜𝗻𝗻𝗲𝘀 & 𝗜𝘁𝗮𝗯 𝗔𝘇𝘇𝗮𝗺 that their ten year labour of love has been selected for 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗰𝗼𝗺𝗽𝗲𝘁𝗶𝘁𝗶𝗼𝗻 in the 𝗪𝗼𝗿𝗹𝗱 𝗖𝗶𝗻𝗲𝗺𝗮 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗮𝗿𝘆 category.
𝗢𝗻𝗲 𝗜𝗻 𝗔 𝗠𝗶𝗹𝗹𝗶𝗼𝗻 follows the fortunes of Israa, a young Syrian girl, as she and her family are uprooted by civil war, relocating to Germany as refugees, with all the struggle and complexity such a displacement entails.
I entered the film’s fragile bubble towards the end of its journey, flying to Cologne in November 2023 and again in March 2025, to shoot studio interviews with Israa, and also her mother, father, sister and husband.
It’s a rare and amazing thing to follow a story over ten years, an incredible achievement for Jack & Itab, who’s own personal family journey through these ten years was far from easy, especially for Itab, who not only is Syrian herself but also became a mother to their son Rumi along the way, and somehow managed to keep making this film. Jack not only co-directed, co-produced and became a dad, but also self-shot the project (I hear he’s not bad at that either!).
There felt something strangely synchronous about these two groups - the subjects and the filmmakers - caught up in the turmoil of civil war; that despite their obvious differences, were both negotiating something universally complex: family.
Best of luck to the whole team at Sundance!
𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀
Storyville/FRONTLINE Features
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
Raney Aronson-Rath
Will Anderson
James Bluemel
Andrew Palmer
𝗘𝗱𝗶𝘁𝗼𝗿𝘀
Alec Rossiter
Iain Pettifer
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Simon Russell
…and obviously many more!
Thanks to 𝗨𝗹𝗶 𝗣𝗳𝗹𝗮𝗻𝘇 & 𝗠𝗮𝗱𝗱𝗶𝗲 𝗜𝗿𝗲𝗹𝗮𝗻𝗱 at 𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀 and 𝗡𝗮𝗻𝗶 & 𝗚𝗲𝗼𝗿𝗴 𝗪𝗲𝘀𝘀𝗲𝗹 at 𝗣𝗹𝗮𝗻𝗲𝘁 𝗡𝗶𝗽𝗽𝗲𝘀, Cologne. 🙏🏻
#sonyvenice #angenieuxoptimo
#leicam6 #portra800
𝗢𝗡𝗘 𝗜𝗡 𝗔 𝗠𝗜𝗟𝗟𝗜𝗢𝗡
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
Thrilled for 𝗝𝗮𝗰𝗸 𝗠𝗮𝗰𝗜𝗻𝗻𝗲𝘀 & 𝗜𝘁𝗮𝗯 𝗔𝘇𝘇𝗮𝗺 that their ten year labour of love has been selected for 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗰𝗼𝗺𝗽𝗲𝘁𝗶𝘁𝗶𝗼𝗻 in the 𝗪𝗼𝗿𝗹𝗱 𝗖𝗶𝗻𝗲𝗺𝗮 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗮𝗿𝘆 category.
𝗢𝗻𝗲 𝗜𝗻 𝗔 𝗠𝗶𝗹𝗹𝗶𝗼𝗻 follows the fortunes of Israa, a young Syrian girl, as she and her family are uprooted by civil war, relocating to Germany as refugees, with all the struggle and complexity such a displacement entails.
I entered the film’s fragile bubble towards the end of its journey, flying to Cologne in November 2023 and again in March 2025, to shoot studio interviews with Israa, and also her mother, father, sister and husband.
It’s a rare and amazing thing to follow a story over ten years, an incredible achievement for Jack & Itab, who’s own personal family journey through these ten years was far from easy, especially for Itab, who not only is Syrian herself but also became a mother to their son Rumi along the way, and somehow managed to keep making this film. Jack not only co-directed, co-produced and became a dad, but also self-shot the project (I hear he’s not bad at that either!).
There felt something strangely synchronous about these two groups - the subjects and the filmmakers - caught up in the turmoil of civil war; that despite their obvious differences, were both negotiating something universally complex: family.
Best of luck to the whole team at Sundance!
𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀
Storyville/FRONTLINE Features
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
Raney Aronson-Rath
Will Anderson
James Bluemel
Andrew Palmer
𝗘𝗱𝗶𝘁𝗼𝗿𝘀
Alec Rossiter
Iain Pettifer
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Simon Russell
…and obviously many more!
Thanks to 𝗨𝗹𝗶 𝗣𝗳𝗹𝗮𝗻𝘇 & 𝗠𝗮𝗱𝗱𝗶𝗲 𝗜𝗿𝗲𝗹𝗮𝗻𝗱 at 𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀 and 𝗡𝗮𝗻𝗶 & 𝗚𝗲𝗼𝗿𝗴 𝗪𝗲𝘀𝘀𝗲𝗹 at 𝗣𝗹𝗮𝗻𝗲𝘁 𝗡𝗶𝗽𝗽𝗲𝘀, Cologne. 🙏🏻
#sonyvenice #angenieuxoptimo
#leicam6 #portra800
𝗢𝗡𝗘 𝗜𝗡 𝗔 𝗠𝗜𝗟𝗟𝗜𝗢𝗡
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
Thrilled for 𝗝𝗮𝗰𝗸 𝗠𝗮𝗰𝗜𝗻𝗻𝗲𝘀 & 𝗜𝘁𝗮𝗯 𝗔𝘇𝘇𝗮𝗺 that their ten year labour of love has been selected for 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗰𝗼𝗺𝗽𝗲𝘁𝗶𝘁𝗶𝗼𝗻 in the 𝗪𝗼𝗿𝗹𝗱 𝗖𝗶𝗻𝗲𝗺𝗮 𝗗𝗼𝗰𝘂𝗺𝗲𝗻𝘁𝗮𝗿𝘆 category.
𝗢𝗻𝗲 𝗜𝗻 𝗔 𝗠𝗶𝗹𝗹𝗶𝗼𝗻 follows the fortunes of Israa, a young Syrian girl, as she and her family are uprooted by civil war, relocating to Germany as refugees, with all the struggle and complexity such a displacement entails.
I entered the film’s fragile bubble towards the end of its journey, flying to Cologne in November 2023 and again in March 2025, to shoot studio interviews with Israa, and also her mother, father, sister and husband.
It’s a rare and amazing thing to follow a story over ten years, an incredible achievement for Jack & Itab, who’s own personal family journey through these ten years was far from easy, especially for Itab, who not only is Syrian herself but also became a mother to their son Rumi along the way, and somehow managed to keep making this film. Jack not only co-directed, co-produced and became a dad, but also self-shot the project (I hear he’s not bad at that either!).
There felt something strangely synchronous about these two groups - the subjects and the filmmakers - caught up in the turmoil of civil war; that despite their obvious differences, were both negotiating something universally complex: family.
Best of luck to the whole team at Sundance!
𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀
Storyville/FRONTLINE Features
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
Raney Aronson-Rath
Will Anderson
James Bluemel
Andrew Palmer
𝗘𝗱𝗶𝘁𝗼𝗿𝘀
Alec Rossiter
Iain Pettifer
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Simon Russell
…and obviously many more!
Thanks to 𝗨𝗹𝗶 𝗣𝗳𝗹𝗮𝗻𝘇 & 𝗠𝗮𝗱𝗱𝗶𝗲 𝗜𝗿𝗲𝗹𝗮𝗻𝗱 at 𝗞𝗲𝗼 𝗙𝗶𝗹𝗺𝘀 and 𝗡𝗮𝗻𝗶 & 𝗚𝗲𝗼𝗿𝗴 𝗪𝗲𝘀𝘀𝗲𝗹 at 𝗣𝗹𝗮𝗻𝗲𝘁 𝗡𝗶𝗽𝗽𝗲𝘀, Cologne. 🙏🏻
#sonyvenice #angenieuxoptimo
#leicam6 #portra800
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗧𝗛𝗘 𝗙𝗜𝗥𝗦𝗧 𝗟𝗔𝗦𝗧: 𝗪𝗶𝗻𝘁𝗲𝗿 𝗞𝟮
𝗦𝘂𝗻𝗱𝗮𝗻𝗰𝗲 𝟮𝟬𝟮𝟲
“𝘛𝘩𝘦 𝘳𝘢𝘤𝘦 𝘵𝘰 𝘨𝘳𝘢𝘣 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘨𝘳𝘦𝘢𝘵 𝘱𝘳𝘪𝘻𝘦 𝘪𝘯 𝘮𝘰𝘶𝘯𝘵𝘢𝘪𝘯𝘦𝘦𝘳𝘪𝘯𝘨, 𝘒𝟸 𝘪𝘯 𝘸𝘪𝘯𝘵𝘦𝘳, 𝘭𝘦𝘧𝘵 𝘧𝘪𝘷𝘦 𝘥𝘦𝘢𝘥. 𝘐𝘵 𝘦𝘹𝘱𝘰𝘴𝘦𝘥 𝘥𝘦𝘦𝘱 𝘧𝘢𝘶𝘭𝘵 𝘭𝘪𝘯𝘦𝘴 𝘪𝘯 𝘢𝘭𝘱𝘪𝘯𝘪𝘴𝘮 𝘵𝘰𝘥𝘢𝘺: 𝘱𝘳𝘦𝘴𝘴𝘶𝘳𝘦𝘴 𝘧𝘳𝘰𝘮 𝘤𝘰𝘮𝘮𝘦𝘳𝘤𝘪𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯, 𝘵𝘰𝘹𝘪𝘤 𝘦𝘧𝘧𝘦𝘤𝘵𝘴 𝘰𝘧 𝘴𝘰𝘤𝘪𝘢𝘭 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘭𝘰𝘯𝘨-𝘣𝘳𝘦𝘸𝘪𝘯𝘨 𝘵𝘦𝘯𝘴𝘪𝘰𝘯𝘴 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘢𝘳𝘨𝘪𝘯𝘢𝘭𝘪𝘻𝘦𝘥 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘸𝘩𝘰’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘣𝘢𝘴𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘱𝘰𝘳𝘵’𝘴 𝘨𝘭𝘰𝘳𝘺.”
𝗔𝗺𝗶𝗿 𝗕𝗮𝗿-𝗟𝗲𝘃’𝘀 nuanced, ambiguous and multi-layered documentaries act to mitigate a polarised culture of shouted certainties. In 2024 I came onboard his latest film as lead DP for the master interviews. For a film driven by a dizzying array of thrilling archive, a light touch felt apposite and a non-didactic approach suited the fact these interviews were shot in single days over 18 months, across several countries, where inevitably fellow DPs would be called in to contribute. As a process, I loved being on the road with Amir, his producer Sean Richard, co-producer Olive Faure and team, discussing the endless complexities of this story. Working on the grade recently with colourist Ross Baker and the team, was a real privilege as it gave me a week to really see, frame-by-frame, how Amir and editor Joe Carey had skilfully picked their way through a dense thicket of competing narratives playing out on this most brutal of mountains.
Wishing the team all the best at Sundance!
Decent on set photos by Freddie Parkin.
𝗖𝗼𝗺𝗽𝗮𝗻𝘆
Ventureland
Object Studios
Propagate
𝗣𝗿𝗼𝗱𝘂𝗰𝗲𝗿𝘀
John Battsek
Sean Richard
Sarah Thompson
Howard T. Owens
Ben Silverman
𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗿
Olive Faure
𝗘𝗱𝗶𝘁𝗼𝗿
Joe Carey
𝗖𝗼𝗺𝗽𝗼𝘀𝗲𝗿
Tom Hodge
𝗟𝗣
Lottie Allen
𝗔𝗖/𝗢𝗽𝘀
Freddie Parkin
Ben Crossley
#sonyvenice #angenieuxoptimo
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗟𝗢𝗩𝗘 + 𝗪𝗔𝗥
𝘈𝘥𝘥𝘪𝘵𝘪𝘰𝘯𝘢𝘭 𝘊𝘪𝘯𝘦𝘮𝘢𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 - 𝘜𝘒
As with countless families the invasion of Ukraine in Feb 2022 had tragic consequences for ours. The disruption made long form work impossible, so for the next two years I mostly took short contracts, helping out a wide range of great directors, producers and DPs on their films. @chaivasarhelyi and @jimmychin, who I’d worked with on 𝗧𝗵𝗲 𝗥𝗲𝘀𝗰𝘂𝗲, asked me in July 2022 to cover @lynseyaddario and her family on holiday in Devon. Thus began a sporadic series of shoots lasting up to Nov 2024, standing in for DP @thordpnyc
Shooting only UK observational scenes and master interviews, I got to know 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 husband 𝗣𝗮𝘂𝗹 a little better, since she was often away working! I quickly developed a lot of respect and admiration for them both. 𝗟𝘆𝗻𝘀𝗲𝘆’𝘀 talent and importance as a conflict photographer are obvious but I was equally struck by the chauvinism and double standards she battled along the way, making her success even more impressive. And for anyone with young kids doing something extraordinary, there needs to be another person in the support role, in this case 𝗣𝗮𝘂𝗹 who deserves enormous credit for holding down the fort (I mean have you met Alfie!!!). I’m not saying it’s easy but the love, humour and strength in their family is palpable.
@thordpnyc recently posted something that resonated about documentary cinematography, in that we often have our work jumbled up with other contributions; I feel you 𝗧𝗵𝗼𝗿! (sorry buddy…) It can be hard to see your work mixed into a chorus, but he also recognises there is humility and democracy in that. There are so many voices in this film, in all departments, superbly edited into one glorious collage that ultimately does this great photographer justice.
Congrats! @lynseyaddario Paul de Bendern @chaivasarhelyi @jimmychin & my producers @mesdferg @annacmbarnes @_matteo_brunetta_
Props to DOP @thordpnyc 🔥 Ukraine cinematographer @andriy.dubchak 💪🏻🇺🇦
and fellow Additional Cinematographer @clairpopkin. Additional Camera listed in the slides.
@natgeodocs @littlemonsterfilmsofficial
#LoveAndWarFilm
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
𝗧𝗛𝗘 𝗠𝗔𝗡 𝗪𝗛𝗢 𝗗𝗘𝗙𝗜𝗡𝗜𝗧𝗘𝗟𝗬 𝗗𝗜𝗗𝗡’𝗧 𝗦𝗧𝗘𝗔𝗟 𝗛𝗢𝗟𝗟𝗬𝗪𝗢𝗢𝗗
A welcome gear change after the weight of 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, I followed 𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿 onto his next film, a gloriously bonkers caper concerning one 𝗚𝗶𝗮𝗻𝗰𝗮𝗿𝗹𝗼 𝗣𝗮𝗿𝗲𝘁𝘁𝗶 and whether or not he ‘stole Hollywood’. Starting life as an orphan and waiter, what he 𝘥𝘪𝘥 manage to do was buy 𝗠𝗚𝗠 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 with literally no money! We shot with Giancarlo at his palazzo in Orvieto then chased this story across Rome, Portugal, New York, and of course Hollywood, trying to figure out exactly what happened.
𝗕𝗕𝗖𝟮 𝗙𝗿𝗶𝗱𝗮𝘆 𝟭𝟴 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 𝟵𝗽𝗺
𝘉𝘛𝘚 𝘴𝘵𝘪𝘭𝘭𝘴 𝘒𝘰𝘥𝘢𝘬 𝘗𝘰𝘳𝘵𝘳𝘢 𝟾𝟶𝟶
Prod co. @wonderhoodstudios
Dir. @halmack7
Prod. @privatebrain
Exec. Tom & Sam Anstiss
PM Theresa Lydon
PC Felicity Wall
Sound: Paul Thompson, Robert Alexander, @robgarciamofo
Composer @nickfostermusic
Storyboard artist @danmyc
Graphics @compostcreative
Editors @mlupini and Pawel Slawek
This was super low budget but I’d like to thank my AC, DIT, gaffer, trolley pusher and, wait… that was all me! 😂 (with great chimera building skills and good vibes from our LA pa @me_garner )
Sony Venice
Angenieux Optimo 15-40mm
Angenieux Optimo 45-120mm
@sonycine @angenieuxlenses
#featuredocumentary #MGMstudios #angenieuxoptimo #sonyvenice
A short film of Douglas Fir House shot last summer.
Film by @willpughdop
Music by @c_bissonnette
Architecture and landscape by @christianbraileyarchitects
#douglasfirhouse
#architecturefilm
#architectureinspiration
𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘
𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿’s 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, produced at 𝗠𝗶𝗻𝗱𝗵𝗼𝘂𝘀𝗲 for 𝗦𝗞𝗬, was shot over 12 months - a long weaving thread from the Isle of Skye, to Lockerbie itself, then on to Zurich, D.C, New York, Paris, Malta, Tunisia and London.
In the world of documentary we seemed to have reached peak style, that is to say doc filmmaking seems to have become about Hollywood lenses & aspect ratios, multiple cameras, gliding gimbals and stylised lighting. On LOCKERBIE we just went back to basics. 16:9. Camera on sticks. Old school. Tell the story.
And what a story. Others will be writing more eloquently about the worst terrorist attack before 9/11. I am just left with a feeling. We went around the world talking to people whose entire lives have been defined by this event. Who, 35 years later, are still deeply haunted, all of whom will go to their graves without knowing the whole truth, without real closure. Today terrorism seems almost accepted as part of the warp & weft of global politics. But really it just represents political failure and nihilism. When you zoom into a single family’s life it represents unimaginable pain and suffering for the rest of their lives. It’s hard not to think of the thousands of people undergoing this appalling transformation at this very moment in Palestine & Israel (and depressingly so many other countries). And yet these people often display unbelievable resilience, courage and humanity.
Congratulations to John who had to pick his way through an unbelievably complicated narrative yet kept his contributors front & centre. Also to Barnaby Fry his talented producer and Clare McFall who came in to take some of the tail pressure off. It’s hard to make a great series without a supportive exec & commissioner, so major props also to Nancy Strang & Poppy Dixon. From me, thanks to the production team at Mindhouse, esp Dejan Cancar & Dami Mabadeje, to my ACs Ben Crossley & Katie Soper, wonderful colourist Vicki Matich, and to DOP Jamie Quantrill for so ably stepping into a couple of gaps!
𝗦𝗞𝗬 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹
4-part series
November 25th 9pm
#lockerbie #mindhouse #sky #skyoriginal #johndower
𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘
𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿’s 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, produced at 𝗠𝗶𝗻𝗱𝗵𝗼𝘂𝘀𝗲 for 𝗦𝗞𝗬, was shot over 12 months - a long weaving thread from the Isle of Skye, to Lockerbie itself, then on to Zurich, D.C, New York, Paris, Malta, Tunisia and London.
In the world of documentary we seemed to have reached peak style, that is to say doc filmmaking seems to have become about Hollywood lenses & aspect ratios, multiple cameras, gliding gimbals and stylised lighting. On LOCKERBIE we just went back to basics. 16:9. Camera on sticks. Old school. Tell the story.
And what a story. Others will be writing more eloquently about the worst terrorist attack before 9/11. I am just left with a feeling. We went around the world talking to people whose entire lives have been defined by this event. Who, 35 years later, are still deeply haunted, all of whom will go to their graves without knowing the whole truth, without real closure. Today terrorism seems almost accepted as part of the warp & weft of global politics. But really it just represents political failure and nihilism. When you zoom into a single family’s life it represents unimaginable pain and suffering for the rest of their lives. It’s hard not to think of the thousands of people undergoing this appalling transformation at this very moment in Palestine & Israel (and depressingly so many other countries). And yet these people often display unbelievable resilience, courage and humanity.
Congratulations to John who had to pick his way through an unbelievably complicated narrative yet kept his contributors front & centre. Also to Barnaby Fry his talented producer and Clare McFall who came in to take some of the tail pressure off. It’s hard to make a great series without a supportive exec & commissioner, so major props also to Nancy Strang & Poppy Dixon. From me, thanks to the production team at Mindhouse, esp Dejan Cancar & Dami Mabadeje, to my ACs Ben Crossley & Katie Soper, wonderful colourist Vicki Matich, and to DOP Jamie Quantrill for so ably stepping into a couple of gaps!
𝗦𝗞𝗬 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹
4-part series
November 25th 9pm
#lockerbie #mindhouse #sky #skyoriginal #johndower
𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘
𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿’s 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, produced at 𝗠𝗶𝗻𝗱𝗵𝗼𝘂𝘀𝗲 for 𝗦𝗞𝗬, was shot over 12 months - a long weaving thread from the Isle of Skye, to Lockerbie itself, then on to Zurich, D.C, New York, Paris, Malta, Tunisia and London.
In the world of documentary we seemed to have reached peak style, that is to say doc filmmaking seems to have become about Hollywood lenses & aspect ratios, multiple cameras, gliding gimbals and stylised lighting. On LOCKERBIE we just went back to basics. 16:9. Camera on sticks. Old school. Tell the story.
And what a story. Others will be writing more eloquently about the worst terrorist attack before 9/11. I am just left with a feeling. We went around the world talking to people whose entire lives have been defined by this event. Who, 35 years later, are still deeply haunted, all of whom will go to their graves without knowing the whole truth, without real closure. Today terrorism seems almost accepted as part of the warp & weft of global politics. But really it just represents political failure and nihilism. When you zoom into a single family’s life it represents unimaginable pain and suffering for the rest of their lives. It’s hard not to think of the thousands of people undergoing this appalling transformation at this very moment in Palestine & Israel (and depressingly so many other countries). And yet these people often display unbelievable resilience, courage and humanity.
Congratulations to John who had to pick his way through an unbelievably complicated narrative yet kept his contributors front & centre. Also to Barnaby Fry his talented producer and Clare McFall who came in to take some of the tail pressure off. It’s hard to make a great series without a supportive exec & commissioner, so major props also to Nancy Strang & Poppy Dixon. From me, thanks to the production team at Mindhouse, esp Dejan Cancar & Dami Mabadeje, to my ACs Ben Crossley & Katie Soper, wonderful colourist Vicki Matich, and to DOP Jamie Quantrill for so ably stepping into a couple of gaps!
𝗦𝗞𝗬 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹
4-part series
November 25th 9pm
#lockerbie #mindhouse #sky #skyoriginal #johndower
𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘
𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿’s 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, produced at 𝗠𝗶𝗻𝗱𝗵𝗼𝘂𝘀𝗲 for 𝗦𝗞𝗬, was shot over 12 months - a long weaving thread from the Isle of Skye, to Lockerbie itself, then on to Zurich, D.C, New York, Paris, Malta, Tunisia and London.
In the world of documentary we seemed to have reached peak style, that is to say doc filmmaking seems to have become about Hollywood lenses & aspect ratios, multiple cameras, gliding gimbals and stylised lighting. On LOCKERBIE we just went back to basics. 16:9. Camera on sticks. Old school. Tell the story.
And what a story. Others will be writing more eloquently about the worst terrorist attack before 9/11. I am just left with a feeling. We went around the world talking to people whose entire lives have been defined by this event. Who, 35 years later, are still deeply haunted, all of whom will go to their graves without knowing the whole truth, without real closure. Today terrorism seems almost accepted as part of the warp & weft of global politics. But really it just represents political failure and nihilism. When you zoom into a single family’s life it represents unimaginable pain and suffering for the rest of their lives. It’s hard not to think of the thousands of people undergoing this appalling transformation at this very moment in Palestine & Israel (and depressingly so many other countries). And yet these people often display unbelievable resilience, courage and humanity.
Congratulations to John who had to pick his way through an unbelievably complicated narrative yet kept his contributors front & centre. Also to Barnaby Fry his talented producer and Clare McFall who came in to take some of the tail pressure off. It’s hard to make a great series without a supportive exec & commissioner, so major props also to Nancy Strang & Poppy Dixon. From me, thanks to the production team at Mindhouse, esp Dejan Cancar & Dami Mabadeje, to my ACs Ben Crossley & Katie Soper, wonderful colourist Vicki Matich, and to DOP Jamie Quantrill for so ably stepping into a couple of gaps!
𝗦𝗞𝗬 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹
4-part series
November 25th 9pm
#lockerbie #mindhouse #sky #skyoriginal #johndower
𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘
𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿’s 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, produced at 𝗠𝗶𝗻𝗱𝗵𝗼𝘂𝘀𝗲 for 𝗦𝗞𝗬, was shot over 12 months - a long weaving thread from the Isle of Skye, to Lockerbie itself, then on to Zurich, D.C, New York, Paris, Malta, Tunisia and London.
In the world of documentary we seemed to have reached peak style, that is to say doc filmmaking seems to have become about Hollywood lenses & aspect ratios, multiple cameras, gliding gimbals and stylised lighting. On LOCKERBIE we just went back to basics. 16:9. Camera on sticks. Old school. Tell the story.
And what a story. Others will be writing more eloquently about the worst terrorist attack before 9/11. I am just left with a feeling. We went around the world talking to people whose entire lives have been defined by this event. Who, 35 years later, are still deeply haunted, all of whom will go to their graves without knowing the whole truth, without real closure. Today terrorism seems almost accepted as part of the warp & weft of global politics. But really it just represents political failure and nihilism. When you zoom into a single family’s life it represents unimaginable pain and suffering for the rest of their lives. It’s hard not to think of the thousands of people undergoing this appalling transformation at this very moment in Palestine & Israel (and depressingly so many other countries). And yet these people often display unbelievable resilience, courage and humanity.
Congratulations to John who had to pick his way through an unbelievably complicated narrative yet kept his contributors front & centre. Also to Barnaby Fry his talented producer and Clare McFall who came in to take some of the tail pressure off. It’s hard to make a great series without a supportive exec & commissioner, so major props also to Nancy Strang & Poppy Dixon. From me, thanks to the production team at Mindhouse, esp Dejan Cancar & Dami Mabadeje, to my ACs Ben Crossley & Katie Soper, wonderful colourist Vicki Matich, and to DOP Jamie Quantrill for so ably stepping into a couple of gaps!
𝗦𝗞𝗬 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹
4-part series
November 25th 9pm
#lockerbie #mindhouse #sky #skyoriginal #johndower
𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘
𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿’s 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, produced at 𝗠𝗶𝗻𝗱𝗵𝗼𝘂𝘀𝗲 for 𝗦𝗞𝗬, was shot over 12 months - a long weaving thread from the Isle of Skye, to Lockerbie itself, then on to Zurich, D.C, New York, Paris, Malta, Tunisia and London.
In the world of documentary we seemed to have reached peak style, that is to say doc filmmaking seems to have become about Hollywood lenses & aspect ratios, multiple cameras, gliding gimbals and stylised lighting. On LOCKERBIE we just went back to basics. 16:9. Camera on sticks. Old school. Tell the story.
And what a story. Others will be writing more eloquently about the worst terrorist attack before 9/11. I am just left with a feeling. We went around the world talking to people whose entire lives have been defined by this event. Who, 35 years later, are still deeply haunted, all of whom will go to their graves without knowing the whole truth, without real closure. Today terrorism seems almost accepted as part of the warp & weft of global politics. But really it just represents political failure and nihilism. When you zoom into a single family’s life it represents unimaginable pain and suffering for the rest of their lives. It’s hard not to think of the thousands of people undergoing this appalling transformation at this very moment in Palestine & Israel (and depressingly so many other countries). And yet these people often display unbelievable resilience, courage and humanity.
Congratulations to John who had to pick his way through an unbelievably complicated narrative yet kept his contributors front & centre. Also to Barnaby Fry his talented producer and Clare McFall who came in to take some of the tail pressure off. It’s hard to make a great series without a supportive exec & commissioner, so major props also to Nancy Strang & Poppy Dixon. From me, thanks to the production team at Mindhouse, esp Dejan Cancar & Dami Mabadeje, to my ACs Ben Crossley & Katie Soper, wonderful colourist Vicki Matich, and to DOP Jamie Quantrill for so ably stepping into a couple of gaps!
𝗦𝗞𝗬 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹
4-part series
November 25th 9pm
#lockerbie #mindhouse #sky #skyoriginal #johndower
𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘
𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿’s 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, produced at 𝗠𝗶𝗻𝗱𝗵𝗼𝘂𝘀𝗲 for 𝗦𝗞𝗬, was shot over 12 months - a long weaving thread from the Isle of Skye, to Lockerbie itself, then on to Zurich, D.C, New York, Paris, Malta, Tunisia and London.
In the world of documentary we seemed to have reached peak style, that is to say doc filmmaking seems to have become about Hollywood lenses & aspect ratios, multiple cameras, gliding gimbals and stylised lighting. On LOCKERBIE we just went back to basics. 16:9. Camera on sticks. Old school. Tell the story.
And what a story. Others will be writing more eloquently about the worst terrorist attack before 9/11. I am just left with a feeling. We went around the world talking to people whose entire lives have been defined by this event. Who, 35 years later, are still deeply haunted, all of whom will go to their graves without knowing the whole truth, without real closure. Today terrorism seems almost accepted as part of the warp & weft of global politics. But really it just represents political failure and nihilism. When you zoom into a single family’s life it represents unimaginable pain and suffering for the rest of their lives. It’s hard not to think of the thousands of people undergoing this appalling transformation at this very moment in Palestine & Israel (and depressingly so many other countries). And yet these people often display unbelievable resilience, courage and humanity.
Congratulations to John who had to pick his way through an unbelievably complicated narrative yet kept his contributors front & centre. Also to Barnaby Fry his talented producer and Clare McFall who came in to take some of the tail pressure off. It’s hard to make a great series without a supportive exec & commissioner, so major props also to Nancy Strang & Poppy Dixon. From me, thanks to the production team at Mindhouse, esp Dejan Cancar & Dami Mabadeje, to my ACs Ben Crossley & Katie Soper, wonderful colourist Vicki Matich, and to DOP Jamie Quantrill for so ably stepping into a couple of gaps!
𝗦𝗞𝗬 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹
4-part series
November 25th 9pm
#lockerbie #mindhouse #sky #skyoriginal #johndower
𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘
𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿’s 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, produced at 𝗠𝗶𝗻𝗱𝗵𝗼𝘂𝘀𝗲 for 𝗦𝗞𝗬, was shot over 12 months - a long weaving thread from the Isle of Skye, to Lockerbie itself, then on to Zurich, D.C, New York, Paris, Malta, Tunisia and London.
In the world of documentary we seemed to have reached peak style, that is to say doc filmmaking seems to have become about Hollywood lenses & aspect ratios, multiple cameras, gliding gimbals and stylised lighting. On LOCKERBIE we just went back to basics. 16:9. Camera on sticks. Old school. Tell the story.
And what a story. Others will be writing more eloquently about the worst terrorist attack before 9/11. I am just left with a feeling. We went around the world talking to people whose entire lives have been defined by this event. Who, 35 years later, are still deeply haunted, all of whom will go to their graves without knowing the whole truth, without real closure. Today terrorism seems almost accepted as part of the warp & weft of global politics. But really it just represents political failure and nihilism. When you zoom into a single family’s life it represents unimaginable pain and suffering for the rest of their lives. It’s hard not to think of the thousands of people undergoing this appalling transformation at this very moment in Palestine & Israel (and depressingly so many other countries). And yet these people often display unbelievable resilience, courage and humanity.
Congratulations to John who had to pick his way through an unbelievably complicated narrative yet kept his contributors front & centre. Also to Barnaby Fry his talented producer and Clare McFall who came in to take some of the tail pressure off. It’s hard to make a great series without a supportive exec & commissioner, so major props also to Nancy Strang & Poppy Dixon. From me, thanks to the production team at Mindhouse, esp Dejan Cancar & Dami Mabadeje, to my ACs Ben Crossley & Katie Soper, wonderful colourist Vicki Matich, and to DOP Jamie Quantrill for so ably stepping into a couple of gaps!
𝗦𝗞𝗬 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹
4-part series
November 25th 9pm
#lockerbie #mindhouse #sky #skyoriginal #johndower
𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘
𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿’s 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, produced at 𝗠𝗶𝗻𝗱𝗵𝗼𝘂𝘀𝗲 for 𝗦𝗞𝗬, was shot over 12 months - a long weaving thread from the Isle of Skye, to Lockerbie itself, then on to Zurich, D.C, New York, Paris, Malta, Tunisia and London.
In the world of documentary we seemed to have reached peak style, that is to say doc filmmaking seems to have become about Hollywood lenses & aspect ratios, multiple cameras, gliding gimbals and stylised lighting. On LOCKERBIE we just went back to basics. 16:9. Camera on sticks. Old school. Tell the story.
And what a story. Others will be writing more eloquently about the worst terrorist attack before 9/11. I am just left with a feeling. We went around the world talking to people whose entire lives have been defined by this event. Who, 35 years later, are still deeply haunted, all of whom will go to their graves without knowing the whole truth, without real closure. Today terrorism seems almost accepted as part of the warp & weft of global politics. But really it just represents political failure and nihilism. When you zoom into a single family’s life it represents unimaginable pain and suffering for the rest of their lives. It’s hard not to think of the thousands of people undergoing this appalling transformation at this very moment in Palestine & Israel (and depressingly so many other countries). And yet these people often display unbelievable resilience, courage and humanity.
Congratulations to John who had to pick his way through an unbelievably complicated narrative yet kept his contributors front & centre. Also to Barnaby Fry his talented producer and Clare McFall who came in to take some of the tail pressure off. It’s hard to make a great series without a supportive exec & commissioner, so major props also to Nancy Strang & Poppy Dixon. From me, thanks to the production team at Mindhouse, esp Dejan Cancar & Dami Mabadeje, to my ACs Ben Crossley & Katie Soper, wonderful colourist Vicki Matich, and to DOP Jamie Quantrill for so ably stepping into a couple of gaps!
𝗦𝗞𝗬 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹
4-part series
November 25th 9pm
#lockerbie #mindhouse #sky #skyoriginal #johndower
𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘
𝗝𝗼𝗵𝗻 𝗗𝗼𝘄𝗲𝗿’s 𝗟𝗢𝗖𝗞𝗘𝗥𝗕𝗜𝗘, produced at 𝗠𝗶𝗻𝗱𝗵𝗼𝘂𝘀𝗲 for 𝗦𝗞𝗬, was shot over 12 months - a long weaving thread from the Isle of Skye, to Lockerbie itself, then on to Zurich, D.C, New York, Paris, Malta, Tunisia and London.
In the world of documentary we seemed to have reached peak style, that is to say doc filmmaking seems to have become about Hollywood lenses & aspect ratios, multiple cameras, gliding gimbals and stylised lighting. On LOCKERBIE we just went back to basics. 16:9. Camera on sticks. Old school. Tell the story.
And what a story. Others will be writing more eloquently about the worst terrorist attack before 9/11. I am just left with a feeling. We went around the world talking to people whose entire lives have been defined by this event. Who, 35 years later, are still deeply haunted, all of whom will go to their graves without knowing the whole truth, without real closure. Today terrorism seems almost accepted as part of the warp & weft of global politics. But really it just represents political failure and nihilism. When you zoom into a single family’s life it represents unimaginable pain and suffering for the rest of their lives. It’s hard not to think of the thousands of people undergoing this appalling transformation at this very moment in Palestine & Israel (and depressingly so many other countries). And yet these people often display unbelievable resilience, courage and humanity.
Congratulations to John who had to pick his way through an unbelievably complicated narrative yet kept his contributors front & centre. Also to Barnaby Fry his talented producer and Clare McFall who came in to take some of the tail pressure off. It’s hard to make a great series without a supportive exec & commissioner, so major props also to Nancy Strang & Poppy Dixon. From me, thanks to the production team at Mindhouse, esp Dejan Cancar & Dami Mabadeje, to my ACs Ben Crossley & Katie Soper, wonderful colourist Vicki Matich, and to DOP Jamie Quantrill for so ably stepping into a couple of gaps!
𝗦𝗞𝗬 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹
4-part series
November 25th 9pm
#lockerbie #mindhouse #sky #skyoriginal #johndower
𝗦𝗟𝗢𝗪 𝗥𝗢𝗟𝗟
Some frames from a 120 roll shot over three months in Cape Town, NYC and Malta.
The last year has been trying (for everyone it would seem!). Long form projects delayed, pushed & cancelled. A huge amount of ad hoc work whilst struggling to finish the house. Thankfully good ol’ @halmack7 has had me on a single doc series over the last 6 months.
Whilst I’m dying to get back to long form projects it’s also been nice to see a whole tapestry of new faces, and to help out some old ones along the way.
Meanwhile Insta - BTS & photography - kind of ground to a halt and died. So you see it takes me about three months to get through a roll of 120 😂
#mamiya7 #mamiya7ii #mediumformat #6x7 #120film #filmphotography #portra800 #shotonfilm #grainisgood #mamiya7ruinedeverything #cinematography#cinematographer
𝗦𝗟𝗢𝗪 𝗥𝗢𝗟𝗟
Some frames from a 120 roll shot over three months in Cape Town, NYC and Malta.
The last year has been trying (for everyone it would seem!). Long form projects delayed, pushed & cancelled. A huge amount of ad hoc work whilst struggling to finish the house. Thankfully good ol’ @halmack7 has had me on a single doc series over the last 6 months.
Whilst I’m dying to get back to long form projects it’s also been nice to see a whole tapestry of new faces, and to help out some old ones along the way.
Meanwhile Insta - BTS & photography - kind of ground to a halt and died. So you see it takes me about three months to get through a roll of 120 😂
#mamiya7 #mamiya7ii #mediumformat #6x7 #120film #filmphotography #portra800 #shotonfilm #grainisgood #mamiya7ruinedeverything #cinematography#cinematographer
𝗦𝗟𝗢𝗪 𝗥𝗢𝗟𝗟
Some frames from a 120 roll shot over three months in Cape Town, NYC and Malta.
The last year has been trying (for everyone it would seem!). Long form projects delayed, pushed & cancelled. A huge amount of ad hoc work whilst struggling to finish the house. Thankfully good ol’ @halmack7 has had me on a single doc series over the last 6 months.
Whilst I’m dying to get back to long form projects it’s also been nice to see a whole tapestry of new faces, and to help out some old ones along the way.
Meanwhile Insta - BTS & photography - kind of ground to a halt and died. So you see it takes me about three months to get through a roll of 120 😂
#mamiya7 #mamiya7ii #mediumformat #6x7 #120film #filmphotography #portra800 #shotonfilm #grainisgood #mamiya7ruinedeverything #cinematography#cinematographer
𝗦𝗟𝗢𝗪 𝗥𝗢𝗟𝗟
Some frames from a 120 roll shot over three months in Cape Town, NYC and Malta.
The last year has been trying (for everyone it would seem!). Long form projects delayed, pushed & cancelled. A huge amount of ad hoc work whilst struggling to finish the house. Thankfully good ol’ @halmack7 has had me on a single doc series over the last 6 months.
Whilst I’m dying to get back to long form projects it’s also been nice to see a whole tapestry of new faces, and to help out some old ones along the way.
Meanwhile Insta - BTS & photography - kind of ground to a halt and died. So you see it takes me about three months to get through a roll of 120 😂
#mamiya7 #mamiya7ii #mediumformat #6x7 #120film #filmphotography #portra800 #shotonfilm #grainisgood #mamiya7ruinedeverything #cinematography#cinematographer
𝗦𝗟𝗢𝗪 𝗥𝗢𝗟𝗟
Some frames from a 120 roll shot over three months in Cape Town, NYC and Malta.
The last year has been trying (for everyone it would seem!). Long form projects delayed, pushed & cancelled. A huge amount of ad hoc work whilst struggling to finish the house. Thankfully good ol’ @halmack7 has had me on a single doc series over the last 6 months.
Whilst I’m dying to get back to long form projects it’s also been nice to see a whole tapestry of new faces, and to help out some old ones along the way.
Meanwhile Insta - BTS & photography - kind of ground to a halt and died. So you see it takes me about three months to get through a roll of 120 😂
#mamiya7 #mamiya7ii #mediumformat #6x7 #120film #filmphotography #portra800 #shotonfilm #grainisgood #mamiya7ruinedeverything #cinematography#cinematographer
𝗦𝗟𝗢𝗪 𝗥𝗢𝗟𝗟
Some frames from a 120 roll shot over three months in Cape Town, NYC and Malta.
The last year has been trying (for everyone it would seem!). Long form projects delayed, pushed & cancelled. A huge amount of ad hoc work whilst struggling to finish the house. Thankfully good ol’ @halmack7 has had me on a single doc series over the last 6 months.
Whilst I’m dying to get back to long form projects it’s also been nice to see a whole tapestry of new faces, and to help out some old ones along the way.
Meanwhile Insta - BTS & photography - kind of ground to a halt and died. So you see it takes me about three months to get through a roll of 120 😂
#mamiya7 #mamiya7ii #mediumformat #6x7 #120film #filmphotography #portra800 #shotonfilm #grainisgood #mamiya7ruinedeverything #cinematography#cinematographer
𝗗𝗢𝗨𝗚𝗥𝗔𝗬 𝗦𝗖𝗢𝗧𝗧
Congratulations to 𝗗𝗼𝘂𝗴𝗿𝗮𝘆 𝗦𝗰𝗼𝘁𝘁! He just won up a 𝗦𝗰𝗼𝘁𝘁𝗶𝘀𝗵 𝗕𝗔𝗙𝗧𝗔 AND an 𝗜𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗘𝗠𝗠𝗬 for his wonderful performance in Irvine Welsh’s 𝗖𝗥𝗜𝗠𝗘.
No matter how stressful the day, when the AD calls ‘turnover’, and you have an actor of Dougray’s calibre performing inches from your lens, everything else melts away and you know why you are there, in that moment, doing what you do.
#dougrayscott #CRIME #irvinewelsh #ScottishBAFTA #EMMY #Britbox #buccaneermedia
#jamesstrong
𝗗𝗢𝗨𝗚𝗥𝗔𝗬 𝗦𝗖𝗢𝗧𝗧
Congratulations to 𝗗𝗼𝘂𝗴𝗿𝗮𝘆 𝗦𝗰𝗼𝘁𝘁! He just won up a 𝗦𝗰𝗼𝘁𝘁𝗶𝘀𝗵 𝗕𝗔𝗙𝗧𝗔 AND an 𝗜𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗘𝗠𝗠𝗬 for his wonderful performance in Irvine Welsh’s 𝗖𝗥𝗜𝗠𝗘.
No matter how stressful the day, when the AD calls ‘turnover’, and you have an actor of Dougray’s calibre performing inches from your lens, everything else melts away and you know why you are there, in that moment, doing what you do.
#dougrayscott #CRIME #irvinewelsh #ScottishBAFTA #EMMY #Britbox #buccaneermedia
#jamesstrong
𝗗𝗢𝗨𝗚𝗥𝗔𝗬 𝗦𝗖𝗢𝗧𝗧
Congratulations to 𝗗𝗼𝘂𝗴𝗿𝗮𝘆 𝗦𝗰𝗼𝘁𝘁! He just won up a 𝗦𝗰𝗼𝘁𝘁𝗶𝘀𝗵 𝗕𝗔𝗙𝗧𝗔 AND an 𝗜𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗘𝗠𝗠𝗬 for his wonderful performance in Irvine Welsh’s 𝗖𝗥𝗜𝗠𝗘.
No matter how stressful the day, when the AD calls ‘turnover’, and you have an actor of Dougray’s calibre performing inches from your lens, everything else melts away and you know why you are there, in that moment, doing what you do.
#dougrayscott #CRIME #irvinewelsh #ScottishBAFTA #EMMY #Britbox #buccaneermedia
#jamesstrong
𝗗𝗢𝗨𝗚𝗥𝗔𝗬 𝗦𝗖𝗢𝗧𝗧
Congratulations to 𝗗𝗼𝘂𝗴𝗿𝗮𝘆 𝗦𝗰𝗼𝘁𝘁! He just won up a 𝗦𝗰𝗼𝘁𝘁𝗶𝘀𝗵 𝗕𝗔𝗙𝗧𝗔 AND an 𝗜𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗘𝗠𝗠𝗬 for his wonderful performance in Irvine Welsh’s 𝗖𝗥𝗜𝗠𝗘.
No matter how stressful the day, when the AD calls ‘turnover’, and you have an actor of Dougray’s calibre performing inches from your lens, everything else melts away and you know why you are there, in that moment, doing what you do.
#dougrayscott #CRIME #irvinewelsh #ScottishBAFTA #EMMY #Britbox #buccaneermedia
#jamesstrong
𝗗𝗢𝗨𝗚𝗥𝗔𝗬 𝗦𝗖𝗢𝗧𝗧
Congratulations to 𝗗𝗼𝘂𝗴𝗿𝗮𝘆 𝗦𝗰𝗼𝘁𝘁! He just won up a 𝗦𝗰𝗼𝘁𝘁𝗶𝘀𝗵 𝗕𝗔𝗙𝗧𝗔 AND an 𝗜𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗘𝗠𝗠𝗬 for his wonderful performance in Irvine Welsh’s 𝗖𝗥𝗜𝗠𝗘.
No matter how stressful the day, when the AD calls ‘turnover’, and you have an actor of Dougray’s calibre performing inches from your lens, everything else melts away and you know why you are there, in that moment, doing what you do.
#dougrayscott #CRIME #irvinewelsh #ScottishBAFTA #EMMY #Britbox #buccaneermedia
#jamesstrong
𝗗𝗢𝗨𝗚𝗥𝗔𝗬 𝗦𝗖𝗢𝗧𝗧
Congratulations to 𝗗𝗼𝘂𝗴𝗿𝗮𝘆 𝗦𝗰𝗼𝘁𝘁! He just won up a 𝗦𝗰𝗼𝘁𝘁𝗶𝘀𝗵 𝗕𝗔𝗙𝗧𝗔 AND an 𝗜𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗘𝗠𝗠𝗬 for his wonderful performance in Irvine Welsh’s 𝗖𝗥𝗜𝗠𝗘.
No matter how stressful the day, when the AD calls ‘turnover’, and you have an actor of Dougray’s calibre performing inches from your lens, everything else melts away and you know why you are there, in that moment, doing what you do.
#dougrayscott #CRIME #irvinewelsh #ScottishBAFTA #EMMY #Britbox #buccaneermedia
#jamesstrong
𝗗𝗢𝗨𝗚𝗥𝗔𝗬 𝗦𝗖𝗢𝗧𝗧
Congratulations to 𝗗𝗼𝘂𝗴𝗿𝗮𝘆 𝗦𝗰𝗼𝘁𝘁! He just won up a 𝗦𝗰𝗼𝘁𝘁𝗶𝘀𝗵 𝗕𝗔𝗙𝗧𝗔 AND an 𝗜𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗘𝗠𝗠𝗬 for his wonderful performance in Irvine Welsh’s 𝗖𝗥𝗜𝗠𝗘.
No matter how stressful the day, when the AD calls ‘turnover’, and you have an actor of Dougray’s calibre performing inches from your lens, everything else melts away and you know why you are there, in that moment, doing what you do.
#dougrayscott #CRIME #irvinewelsh #ScottishBAFTA #EMMY #Britbox #buccaneermedia
#jamesstrong
𝗗𝗢𝗨𝗚𝗥𝗔𝗬 𝗦𝗖𝗢𝗧𝗧
Congratulations to 𝗗𝗼𝘂𝗴𝗿𝗮𝘆 𝗦𝗰𝗼𝘁𝘁! He just won up a 𝗦𝗰𝗼𝘁𝘁𝗶𝘀𝗵 𝗕𝗔𝗙𝗧𝗔 AND an 𝗜𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗘𝗠𝗠𝗬 for his wonderful performance in Irvine Welsh’s 𝗖𝗥𝗜𝗠𝗘.
No matter how stressful the day, when the AD calls ‘turnover’, and you have an actor of Dougray’s calibre performing inches from your lens, everything else melts away and you know why you are there, in that moment, doing what you do.
#dougrayscott #CRIME #irvinewelsh #ScottishBAFTA #EMMY #Britbox #buccaneermedia
#jamesstrong
𝗡𝘂𝗿𝘀𝗲𝘀 & 𝗖𝗼𝗽𝘀
An beautiful old steel fabrication plant in Brooklyn, NY - my favourite location from 𝗖𝗮𝗽𝘁𝘂𝗿𝗶𝗻𝗴 𝗧𝗵𝗲 𝗞𝗶𝗹𝗹𝗲𝗿 𝗡𝘂𝗿𝘀𝗲 (The Good Nurse - Netflix feature doc version).
I regret not getting a shot of the wonderful @amythegoodnurse but her master interview in a functioning hospital was full on!
#thegoodnurse #capturingthekillernurse #charlescullen #amyloughren
#sandpaperfilms #timtravershawkins #robinockleford #henrysinger #sonyvenice #angenieuxoptimo #leicasummicronc #featuredoc #featuredocumentary
#filmphotography #mamiya7 #mamiya7ii #mediumformat #6x7 #120film #portra #portra800 #shotonfilm #mamiya7ruinedeverything#grainisgood
𝗡𝘂𝗿𝘀𝗲𝘀 & 𝗖𝗼𝗽𝘀
An beautiful old steel fabrication plant in Brooklyn, NY - my favourite location from 𝗖𝗮𝗽𝘁𝘂𝗿𝗶𝗻𝗴 𝗧𝗵𝗲 𝗞𝗶𝗹𝗹𝗲𝗿 𝗡𝘂𝗿𝘀𝗲 (The Good Nurse - Netflix feature doc version).
I regret not getting a shot of the wonderful @amythegoodnurse but her master interview in a functioning hospital was full on!
#thegoodnurse #capturingthekillernurse #charlescullen #amyloughren
#sandpaperfilms #timtravershawkins #robinockleford #henrysinger #sonyvenice #angenieuxoptimo #leicasummicronc #featuredoc #featuredocumentary
#filmphotography #mamiya7 #mamiya7ii #mediumformat #6x7 #120film #portra #portra800 #shotonfilm #mamiya7ruinedeverything#grainisgood
𝗡𝘂𝗿𝘀𝗲𝘀 & 𝗖𝗼𝗽𝘀
An beautiful old steel fabrication plant in Brooklyn, NY - my favourite location from 𝗖𝗮𝗽𝘁𝘂𝗿𝗶𝗻𝗴 𝗧𝗵𝗲 𝗞𝗶𝗹𝗹𝗲𝗿 𝗡𝘂𝗿𝘀𝗲 (The Good Nurse - Netflix feature doc version).
I regret not getting a shot of the wonderful @amythegoodnurse but her master interview in a functioning hospital was full on!
#thegoodnurse #capturingthekillernurse #charlescullen #amyloughren
#sandpaperfilms #timtravershawkins #robinockleford #henrysinger #sonyvenice #angenieuxoptimo #leicasummicronc #featuredoc #featuredocumentary
#filmphotography #mamiya7 #mamiya7ii #mediumformat #6x7 #120film #portra #portra800 #shotonfilm #mamiya7ruinedeverything#grainisgood
𝗡𝘂𝗿𝘀𝗲𝘀 & 𝗖𝗼𝗽𝘀
An beautiful old steel fabrication plant in Brooklyn, NY - my favourite location from 𝗖𝗮𝗽𝘁𝘂𝗿𝗶𝗻𝗴 𝗧𝗵𝗲 𝗞𝗶𝗹𝗹𝗲𝗿 𝗡𝘂𝗿𝘀𝗲 (The Good Nurse - Netflix feature doc version).
I regret not getting a shot of the wonderful @amythegoodnurse but her master interview in a functioning hospital was full on!
#thegoodnurse #capturingthekillernurse #charlescullen #amyloughren
#sandpaperfilms #timtravershawkins #robinockleford #henrysinger #sonyvenice #angenieuxoptimo #leicasummicronc #featuredoc #featuredocumentary
#filmphotography #mamiya7 #mamiya7ii #mediumformat #6x7 #120film #portra #portra800 #shotonfilm #mamiya7ruinedeverything#grainisgood
𝗡𝘂𝗿𝘀𝗲𝘀 & 𝗖𝗼𝗽𝘀
An beautiful old steel fabrication plant in Brooklyn, NY - my favourite location from 𝗖𝗮𝗽𝘁𝘂𝗿𝗶𝗻𝗴 𝗧𝗵𝗲 𝗞𝗶𝗹𝗹𝗲𝗿 𝗡𝘂𝗿𝘀𝗲 (The Good Nurse - Netflix feature doc version).
I regret not getting a shot of the wonderful @amythegoodnurse but her master interview in a functioning hospital was full on!
#thegoodnurse #capturingthekillernurse #charlescullen #amyloughren
#sandpaperfilms #timtravershawkins #robinockleford #henrysinger #sonyvenice #angenieuxoptimo #leicasummicronc #featuredoc #featuredocumentary
#filmphotography #mamiya7 #mamiya7ii #mediumformat #6x7 #120film #portra #portra800 #shotonfilm #mamiya7ruinedeverything#grainisgood
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.