Maybe that's where it comes from, the films I grew up with. It's funny, we always end up talking about Akira Kurosawa, and again, maybe he's an influence for you there? I think we're all under some sort of pressure in life in some way, and sometimes it's mental, sometimes it's physical. I don't know, but I find it more human when you find characters that have flaws or are under pressure. I find it more interesting, whatever that pressure might be. Of course, that's good drama, but what draws you to those characters? "The Terminal List" is another story you're telling with characters in intense lines of work facing extreme conditions. I think it should be the same approach as the feature, and take more risk and not worry about that structure. TV, you're used to that coming in here, coming in here. You can't take a risk of just doing a medium shot and that's the shot and that's all you're going to shoot and that's it. In a normal TV format, you have to get all those closeups. You get your closeups of course, but you don't have to. That's not the world I come from, so sometimes I'm pushing, staying wider, using 35 millimeter lenses and really capturing the scenes. I mean, the thing that I constantly push against is being afraid of scope, because when someone comes out of TV, it's a lot of talking heads. You do have to consider it to a degree, but not as much. No, I know what you're saying, but the thing is that everybody has a big flat screen TV now, so the format is different. When you direct, knowing people will be watching your work at home, does it influence any of your camerawork choices? I found it to be a really positive thing. They take bigger risks, because you don't have to worry about the box office weekend, and then they release it all at the same time around the world which is incredible, so you get immediate feedback on your work. You got a chance to just come in and try some things and be brave, and they take risks. The same with the other streamers that I've worked with.Īpple, Netflix, Hulu, they've been amazing. As a director, you get to go make your work, do your work. I mean, Amazon, they give a couple notes here and there earlier on, but not much. Tom Rothman and those guys, normally, we talk about the script and once we lock something, we do it and I don't talk to them again until at the end, but these streamers have been really amazing. I mean, I have a great relationship with Sony. How's the creative freedom compared to your past work with studios? Are they similar experiences? There's something about - during the pandemic, we realized we took a lot of things for granted, and so now that we're back doing that, I'm really enjoying the collaboration with everyone in doing long-form. You get to see other directors come in and do their work as well on your projects, and I think that's invaluable. If you get lucky and get it picked up again, if you have eight episodes and then you get picked up again and you get another eight or 10 or whatever it is, the relationship gets to continue and that's fantastic.
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