“Cinematographer CHARLIE SARROFF is [the] guest on the podcast today.
Charlie shares some stories from the front lines of cinematographer as we discuss his move from Australia to Los Angeles, adjusting to new work environments, finding his way in to the industry and more.”
Listen to the full podcast here.
“For viewers who couldn’t see the real thing — and most especially for New Yorkers, some of whom work just a few blocks away from the Walter Kerr, but have never been able to go inside its walls — the access is so exciting that the 14-month wait for it seems like a small price to pay. Call it a film, call it a special, call it whatever you want; on Netflix, SPRINGSTEEN ON BROADWAY [lensed by JOE DESALVO] is nothing short of a public service.”
Read the full article here.
“Central to the theme is Starr’s struggle and eventual resolution of these opposing versions of herself, and one of the first conversations director George Tillman Jr. had with was about how to visually differentiate between Starr’s two worlds. Their options were plentiful — lenses, color, format, camera movement — and after extensive conversations, [cinematographer MIHAI MALAIMARE JR.] felt it would be best to utilize multiple tools. “Immediately, I thought if you only choose one [method of differentiation, you will inevitably] overdo it. But if you use all the elements, you can be subtle with some of them,” he says. “
Read the full interview here.