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will mckim

INDIEWIRE: The Best TV Episodes of 2018 (So Far)

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“Debates were waged over what episode from the stellar second season of “Dear White People” would make this collection, especially given that “Chapter VIII,” the episode that precedes this one, was a stellar showcase of the show’s talents on a micro level. However, it’s the penultimate episode of the year, in which Sam White (Logan Browning) deals with a family tragedy with the help of her friends Joelle (Ashley Blaine Featherson) and Coco (Antoinette Robertson), where the show reaches an emotional crescendo. If you didn’t ugly-cry at least once during this episode, then the whereabouts of your heart may be unknown. It’s a stunning achievement, brilliantly written by Nastaran Dibai & Yvette Lee Bowser and directed by Janicza Bravo [with OMAR HASSAN-REEP as Editor], and one that will stay with us for quite some time.”

Colin Watkinson On Creating Aesthetic Of Dystopian Hulu Drama – Production Value Video Series

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“Helping to establish an aesthetically singular world with Season 1 of Hulu’s dystopian drama The Handmaid’s Tale, cinematographer COLIN WATKINSON received his first Emmy for his efforts, and returned to expand the series’ visual boundaries in Season 2. Watkinson recently sat down at Hulu’s offices for Deadline’s Production Value video series to discuss his craft, and the thinking that went into defining the look of Bruce Miller’s drama based on Margaret Atwood’s novel.”

 

Watch the interview and see the full writeup here.

THE HANDMAID’S TALE DP Colin Watkinson On Creating Aesthetic Of Dystopian Hulu Drama

By | Clients, News | No Comments

“Helping to establish an aesthetically singular world with Season 1 of Hulu’s dystopian drama THE HANDMAID’S TALE, cinematographer COLIN WATKINSON received his first Emmy for his efforts, and returned to expand the series’ visual boundaries in Season 2. Watkinson recently sat down at Hulu’s offices for Deadline’s Production Value video series to discuss his craft, and the thinking that went into defining the look of Bruce Miller’s drama based on Margaret Atwood’s novel.”

Read the full article here