Episode 91- Turning the Tables - FARGO (3 replies)
Team Deakins gets the tables turned on them in this episode. Cinematographer Joshua James Richards (Nomadland, The Rider, God's Own Country) turns the spotlight on us and asks questions about the movie Fargo. We speak about specific shots and how they were done. We also talk about covering wider subjects, how a camera move can add to the strength of the scene, working with different directors, and the importance of cinematographer supporting the performances using natural light, and what limitations can give to a movie. We cover a lot of ground, including finding inspiration, the Coen Brothers’ unique talents, as well as the importance of the DP understanding editing. So we go into detail about the movie Fargo as well as many broader topics. Josh was thorough!
RECOMMENDED EPISODE VIEWING - Fargo
Please post further discussion and comments below.
I really enjoyed this episode. It did remind me in one or two places of Chris Farley interviewing Paul McCartney on SNL which made it strangely enjoyable!
Me too! I just loved this episode. Joshua's being such an astute cinematographer really served him in being able to ask the sorts of questions that one would love to ask, but wouldn't have the language to do so. Gives us much to think about.
First of all, this is my first time posting, so I just wanted to say thank you for creating this podcast. It is truly a treasure trove of insight, inspiration, and information. You are both so generous in sharing these conversations, and I think I speak for the entire film community when I say that we are all immensely grateful for these glimpses into your process and into the processes of other artists.
I particularly enjoyed this episode. I have two questions: one about literary references, and one about cinematic references. To what degree, if any, were you, Joel, and Ethan influenced by Cormac McCarthy at this point in your respective careers?
I ask this because FARGO seems almost prescient in the way it dialogues with NO COUNTRY FOR OLD MEN. Of course, that is the result of your continued collaboration, and the thematic arcs of your respective work. But were any of you already reading McCarthy at this early date? I know that you, Roger, have said in other episodes that you have read quite a bit of McCarthy's work. I am just wondering about the timeline, since many of McCarthy's key works were published before 1996 (the exception of course being NO COUNTRY in 2005).
I also seem to detect a glimmer of Sven Nykvist and Ingmar Bergman in certain scenes. This may be a bit of a stretch (or a pretentious question, but I had to ask). On a personal note, my family comes from North Dakota, and I lived in Sweden for 3 years, so I tend to see the world through these lenses (forgive the pun). For me, the association of North Dakota with Sweden is almost inextricable. I wonder if you were thinking at all about Bergman while shooting the film.
Projectionist / Digital Utility