The Cinematography Podcast Episode 175: Paula Huidobro Our returning guest is Paula Huidobro, who has been very busy the past few years shooting the 2022 Best Picture winning film CODA, the Hulu series Pam & Tommy, and the AppleTV+ series Physical, just to name a few. Paula and CODA director Siân Heder knew each other as grad students at AFI, and have worked together on four other projects including the film Tallulah and the show Little America. For Paula, shooting CODA was definitely a different process. There were interpreters for each of the actors on set, and most shots had to be framed as medium shots so that their hands could be seen while they were talking. There could be few over the shoulder shots, or someone saying lines with their back to the other person. Siân Heder and Paula wanted to make sure that a deaf person watching the movie could understand exactly what the actors were saying. CODA is set in a New England fishing village, and Paula found it was a very visual environment to shoot, and extra challenging going out on a fishing boat in the ocean. The Hulu show Pam & Tommy is about the 1990's stolen sex tape of Pamela Anderson and Tommy Lee. Paula served as DP for every episode of the 8-part series, and she watched Pamela's film Barb Wire and Tommy's Mötley Crüe performances for the references. It was hard work to shoot every single episode- she felt she never had enough prep time with the director, location scouting or script. She enjoyed working with director Craig Gillespie (I, Tonya, Cruella) who also was the pilot director on Physical. He wanted to give complete freedom to the actors to move within the scene, so Paula would light the whole space and would start with her camera all the way wide, then push in for a close up. It was like a dance between the actors and they would explore the scene as they filmed it. Paula would shoot in nearly one take then just pick up whatever was missing. Pam & Tommy has a very aggressive style, using a lot of shots pushing in closer and closer, as the release of the sex tape and the fallout for Pamela's career becomes an unstoppable freight train. It also has elements of humor and absurdity, and Paula enjoyed the novelty of shooting scenes with Tommy's talking penis (an animatronic). Pam & Tommy had an excellent makeup and prosthetics department, and actors Lily James and Sebastian Stan are made up to be remarkable likenesses of Pamela Anderson and Tommy Lee. Paula found the makeup to be so good that it wasn't difficult to light the actors. Most of all, Paula and each of the directors wanted to be thoughtful in how they portrayed Pamela Anderson and how her world and entire career had been shattered by illegally releasing this tape. Physical explores the troubled interior life of Sheila Rubin, an extremely unhappy 1980's suburban housewife with an eating disorder. But once she finds aerobics, things begin to change for her. Paula finds Physical to be a very dark show, but she really likes how they portray Sheila's inner thoughts. The character almost always says one thing but in her mind she's thinking dark thoughts about herself or someone else.
The Cinematography Podcast Episode 174: Chris Teague Cinematographer Chris Teague on the Hulu series Only Murders in the Building Cinematographer Chris Teague has shot many acclaimed television series and films such as Obvious Child, GLOW, Russian Doll and Mrs. America. His latest work is on the Hulu series, Only Murders in the Building, both Season One and Season Two, and he also directed episodes seven and eight of Season Two. Only Murders in the Building has many different tones, ranging from funny to dark, dramatic and even scary. The show manages to strike a balance to keep the darkness from undermining the comedy. As the DP, Chris created a very cinematic and timeless look and feel for the show, which is mainly shot on sets that are meticulously built and planned. Each episode takes about 6 ½ days to shoot, and Chris and the crew are able to create visually interesting shots that feel very natural because of having such well built sets with excellent lighting. Actors Martin Short and Steve Martin have such a rapport, and their friend dynamic is baked into the script- the two actually don't do very much improv or riffing. If they do come up with something, Martin and Short run the line changes through for the crew to see how they play. Chris has enjoyed coming back to work on a second season of the show, because he has a body of work to reference and the crew knows the look of the show really well. As a kid, Chris made lots of short movies with friends growing up, and always loved photography and writing. It seemed a natural fit to go to film school and he decided to pursue cinematography full time after the film he shot, Obvious Child, went to Sundance in 2014. Find Chris Teague: Instagram @_christeague Only Murders in the Building Season 2 is currently airing on Hulu. Illya's short end: Hyatt hotels have LG TVs that are compatible with casting streaming apps from your phone, but the smooth scan/smooth motion default programming on the TV could not be turned off. Here is a guide by Variety from February 2022 on how to turn motion smoothing off- and WHY YOU SHOULD-on your television. (Unfortunately, like Illya, you may be out of luck at a hotel!) Ben's short end: Mid Journey is another new AI software that looks unbelievably amazing. Craiyon will give you access to Dall-E mini, if you feel like messing around with AI art for free. Sponsored by Hot Rod Cameras Sponsored by Aputure: The LS 60x light from Aputure is a bi-color hard light that can be combined into a kit with the Spotlight Mini Zoom for a powerful combination that gives users the ability to create and completely redefine the shape of the light output by using the built-in shutters and a drop-in iris. You can buy the LS 60x and the Spotlight Mini Zoom at Hot Rod Cameras. LIKE AND FOLLOW US, send fan mail or suggestions! Rate, review and subscribe on Apple Podcasts! Email: editor@camnoir.com Facebook:@cinepod Instagram: @thecinepod Twitter: @ShortEndz YouTube
The Cinematography Podcast Episode 173: Jim Archer, David Earl, Chris Hayward Brian and Charles is about an awkward and lonely inventor, Brian, who lives in rural Wales. He rarely makes contraptions that are useful or work right, but one day, he finally creates a robot. Charles Petrescu, built out of an old washing machine and a mannequin, becomes Brian's friend. But as Charles becomes more and more curious and self-aware, he decides he wants to explore the world on his own. Actor David Earl is a comedian and came up with the eccentric character of Brian as a bit on the stand up circuit in the UK. One day on an internet radio call in show, a friend called in to interact with David's character using computer voice simulation software. Fellow actor and comedian Chris Hayward heard it, came up with the idea of Charles as Brian's robot sidekick, and the two took it on the road as a live show. Chris built the Charles robot character as a costume, and another friend would type in what Charles would say into the voice simulator to interact with the audience. In 2017, the two teamed up with director Jim Archer to make a short film about the characters, and it did well at festivals. After that, the UK production company Film4 backed developing the script into a feature film. For the feature version of Brian and Charles, director Jim Archer decided to expand on the mockumentary style. He wanted it to look like a real documentary, with a serious dramatic and cinematic look rather than as a wink and a nod to other mockumentaries. The friends were inspired by the documentaries American Movie and Monster Road – true stories about lonely people desperate for their dream to come true. Brian and Charles premiered at the 2022 Sundance Film Festival and is currently playing in theaters. Jim Archer: Instagram & Twitter: @alrightjim David Earl: Instagram @davidearlhello Chris Hayward Charles Petrescu has his own twitter account: @CharlesPetrescu Close Focus: The Thing celebrated its 40 year anniversary and was just re-released. The movie made it into the top 10 at the box office. However, The Thing was presented in the cropped aspect ratio rather than the widescreen aspect ratio and fans were outraged. The next screening will be widescreen. Ben's short end: The Old Man, the F/X show starring Jeff Bridges and John Lithgow. Illya's short end: DJI's new gimbal system, the Ronin S3 is now available at Hot Rod Cameras. Come to Hot Rod Cameras on Wednesday 6/22 from 11am to 2 PM to see the new DJI Ronin systems, including the DJI RS 3 PRO and DJI RS 3 gimbal systems and the DJI Transmission video transmitter. Sponsored by Hot Rod Cameras Sponsored by Arri: The Alexa 35 has become one of the most successful camera launches ever. The new ARRI Alexa 35 is also sturdy and durable and is compatible with all kinds of accessories. You can pre-order one now at Hot Rod Cameras with no deposit nec...
The Cinematography Podcast Episode 172: Chloe Okuno and Benjamin Kirk Watcher is a psychological thriller about a young actress, Julia, who has just moved to Romania from the U.S. with her boyfriend. A serial killer is on the loose in the city, and Julia begins to feel like she is being followed and watched from the apartment across the street. She has trouble convincing her boyfriend and the police that she's being stalked, and the film builds on her increasing sense of dread. Director Chloe Okuno and DP Benjamin Kirk Nielsen first met at American Film Institute, and collaborated on their thesis film, a short horror movie called Slut. They both believe in extensive organization, preparation, shotlisting and planning for their projects. Chloe was hired to direct Watcher in 2017, and it took some time to get the movie off the ground. They ended up shooting in Romania during the summer of 2021 under strict COVID protocols. Chloe liked that the script was a simple thriller that could be told from one character's point of view. Chloe and Benjamin looked at Rosemary's Baby, Alfred Hitchcock's Rear Window, and David Fincher films Seven and Gone Girl as references to impart the sense of terror Julia feels. Benjamin wanted to find a simple, straightforward way to portray Julia's isolation in a foreign city as her fear escalates. He chose to start with longer camera focal lengths and longer shots, then progressively move closer and closer as the Watcher creeps closer and closer to Julia. Watcher premiered at the 2022 Sundance Film Festival and is currently playing in theaters. Chloe Okuno: Twitter @cokuno_san Benjamin Kirk Nielsen: Instagram: @b_kirk Close Focus: The Disney film Lightyear is being denied release in Saudi Arabia, UAE, Malaysia and Indonesia due to a kiss between a lesbian couple in the animated movie. Ben's short end: Dall-E is an AI system trained to generate pictures from text prompts using machine learning. It's still in the testing phase, but a new website, Dall-E Mini, has a free version of the software open to the public, and you can type in your own descriptions for all the nightmare fuel images you'd ever want to make. Illya's short end: The new Laowa 24mm T14 2X Macro Periprobe Lens is now available from Hot Rod Cameras. The Periprobe is a 90 degree front optical piece that rotates, creating many opportunities to shoot in all different directions. With a full-frame macro lens, the Periprobe can get extremely close-up and is even waterproof. Sponsored by Hot Rod Cameras Sponsored by DZOFilm: The Catta Ace Lenses by DZOFilm are a pair of very affordable, high quality zoom lenses ranging from 35-80mm and 70-135mm. Available now from Hot Rod Cameras. LIKE AND FOLLOW US, send fan mail or suggestions! Rate,
The Cinematography Podcast Episode 171: Carey Williams and Mike Dallatorre Emergency is a comedy about three men of color- college roommates Kunle, Sean, and Carlos, who are about to go out for an epic night of spring break partying when they find a white girl has accidentally stumbled in and passed out on their apartment floor. Concerned about what might happen if they call the police, they decide to take the semi-conscious girl in their van and drive around town for hours, trying to find a safe place to leave her and not get in trouble. Meanwhile, the girl's friends chase after the men as they track her phone and call the police. Director Carey Williams and cinematographer Mike Dallatorre met about twenty years ago and have worked together on several music videos and other projects. Emergency began as a 2018 short film directed by Carey and shot by Mike. The short won a jury award at the Sundance Film Festival and Best Narrative Short at SXSW. Carey and writer KD Dávila worked together to expand the story into a feature, and Temple Hill Entertainment and Amazon Studios produced it before the feature premiered at the 2022 Sundance Film Festival. As two men of color themselves, both Carey and Mike have had personal experience with being profiled and detained by police officers. In Emergency, once the roommates are caught and detained by the police, Mike and Carey decided to make the film feel extremely terrifying, shooting the encounter in slow motion and selectively out of focus. Mike deliberately kept the police officer's faces out of frame so that they feel like scary monsters in a horror movie. Having worked together for so long, Mike and Carey had an easy shorthand way of talking through the shotlist and visual feel for each scene, and put together a look book as a reference. Emergency is Carey's biggest movie to date, while Mike brought a lot of experience with seven other features under his belt. As a visual director, Carey always wanted to know what the movie would look like and feel like. The most important piece of the movie for Carey was to show the relationship between the friends, their emotions and vulnerability as they go through a crisis together. Emergency is currently playing in theaters and on Amazon Prime. Carey Williams: Instagram @cdubig Mike Dallatorre: Instagram @dp_miked Hear our previous Cinepod interview with Mike Dallatorre Close Focus: Is this the end of Peak TV? Several networks have canceled or scaled back on shows, and Netflix has also canceled and scaled back as they've lost subscribers. Ben's short end: The FX series Pistol about the band the Sex Pistols, is now streaming on Hulu. It's directed by Danny Boyle and shot by Anthony Dod Mantle. Illya's short end: The FX series Fargo is coming back for Season 5 with Jon Hamm, Juno Temple and Jennifer Jason Leigh. Sponsored by Hot Rod Cameras Sponsored by Aputure: The amaran F21x light is a 2'x 1' bi-color flexible LED fabric light mat that's bright and affordable. They are slim, easy to use and lightweight. Since it's a light mat, it can be rolled up and put into a bag and even taped to a wall. You can buy the amaran F21x at
The Cinematography Podcast Episode 170: Michael FitzMaurice Cinematographer Michael FitzMaurice is known for his aerial and second unit cinematography on huge films such as The Dark Knight, Iron Man, Godzilla: King of the Monsters and now Top Gun Maverick. In the film business, second unit and aerial cinematography are involved in all of the action shots, and as a more technically-oriented DP, Michael has been able to combine his two loves- flying and shooting movies. Michael started out learning about photography in seventh grade, and then got a job out of high school working as a PA for a production company, eventually working his way up shooting music videos and commercials. It was hard to get into aerial cinematography, but with a love of flying and a pilot's license, he was able to prove he could shoot while flying, and pilots would recommend him for aerial cinematography jobs. Aerial cinematography is a very small and select group of people, requiring a very special skill set. When shooting film in a helicopter or plane, it's tough for most DPs to focus on composing a shot in a small space that is also moving quickly and unpredictably, and not get airsick. Top Gun Maverick was hugely dependent on its aerial unit, with most of the action done as a real, practical effect. The aerial unit used two jets, a helicopter and also shot from mountaintops to capture the action as the fighter jets flew past. As a trained pilot himself, Tom Cruise actually flew the jets and did many of his own stunts. Each training jet was outfitted with six cameras to capture the action of the actors in the cockpit. Michael and the aerial crew worked on the movie for over a year, developing new, special gimbal camera systems mounted on the jets. The crew had hours and hours of pre-production meetings, to get a clear idea of the shots needed and how to accomplish them with aircraft and cameras. Michael took a lot of notes and used models to act out aerobatic maneuvers for the planes before shooting them. For Michael, one of the highlights of working on Top Gun Maverick was being allowed to fly very low over a Navy aircraft carrier, although they were not allowed to land on it. Working on Top Gun Maverick was great, but Michael's craziest movie experience was working on second unit of The Dark Knight with director Christopher Nolan and cinematographer Wally Pfister. The movie was shot in IMAX, which is a notoriously difficult format to shoot- IMAX cameras at the time had a very faulty video tap for the monitors. For the scene, Heath Ledger as the Joker blows up a hospital and walks away, all in one take. The explosion was done on a real building, rigged up with real explosives, so there were no second takes. They began the take, but as soon as they went outside, the video tap went white and they couldn't really tell if they were actually getting anything on film at all, but they kept rolling, the building exploded, and hoped the whole thing was actually caught on film- which took about two days to get the film developed and the dailies back. Luckily, it all turned out perfectly. Top Gun Maverick is currently playing in theaters. Michael FitzMaurice Instagram @michaelfitzmaurice Close Focus: After the success of Top Gun Maverick, will studios start making more sequels to '80's movies? Ben's short end: Good Energy Stories is a story consulting website and resource for writers to cleverly put climate change in their movies.
The Cinematography Podcast Episode 169: James Lee Hernandez and Brian Lazarte James Lee Hernandez and Brian Lazarte are Emmy-nominated documentary directors and producers for the HBO documentary series, McMillion$. Brian and James return to Cinepod to talk about their latest documentary, The Big Conn, now airing on Apple TV+. The Big Conn is a four-part documentary series that tells the unbelievable true story of larger-than-life attorney, Eric C. Conn. Conn stole over half a billion dollars from the government and taxpayers in the largest Social Security fraud case in United States history. Conn got away with it for more than 10 years before two whistleblowers told the FBI what he was doing and Conn went on the run. Documentary filmmaking has grown and elevated as an art over the years, and James and Brian take a cinematic approach to the form. Their previous documentary series, McMillion$ had a thread of comedy throughout, with such interesting characters that it reminded them of a Coen brothers movie. For The Big Conn, Brian and James took a similar approach. They dive deep into Eric Conn's life, using comedy to hold the audience's interest, but underneath it's a very serious exposé about the broken American Social Security system. To put together such sprawling stories, James and Brian create a story outline, determine who the interviewees should be, interview the characters, write a script and then decide where they need to put in animated graphics, archival footage and recreations during the editing process. Talented cinematographer Jeff Dolan has worked with the team for years, shooting both interviews and recreations on The Big Conn and McMillion$. Brian and James planned out and put together a guide for lighting and shot composition for the look of the interviews, based on shots from scripted movies they love. James and Brian have a podcast to accompany The Big Conn, diving deeper into the story and subject matter. Listen to The Big Conn Podcast. The Big Conn is a 4-part documentary series currently airing on Apple TV+ James and Brian's production company is Fun Meter. Instagram: @funmeterofficial James Lee Hernandez: @iamthejlh Brian Lazarte: @bdlazarte Close Focus: At the 2022 upfronts- a gathering for TV networks to unveil their upcoming fall content and court potential advertisers- many streamers revealed they want ad revenue and are planning on rolling out an advertiser-supported tier for their customers, including Netflix, Disney+, HBOMax, and Amazon. Ben's short end: George Carlin's American Dream on HBOMax is a very honest, moving and incisive two part documentary all about comedian George Carlin's life and career. Illya's short end: The spy thriller Tehran on Apple TV+ is back for a second season. Also, CineBeer is coming back this year in-person at Hot Rod Cameras on June 12. Stay tuned for more information. Sponsored by Hot Rod Cameras Sponsored by Aputure: Aputure's new light, the LS 600c Pro, is a variable color temperature light fixture with a color temperature range that allows you to use it on interiors,
The Cinematography Podcast Episode 168: Eric Koretz Cinematographer Eric Koretz and our host Illya Friedman have known each other a long time, going back to when Eric blogged about the latest camera gear. Since then, Eric has become a very successful DP. His current work can be seen on the last and final season of the Netflix series, Ozark. Eric shot 4 episodes of the last half of the final season, including the show finale, “A Hard Way to Go” directed by Jason Bateman. Eric loved the look of Ozark, and knew he would have to adapt to the established shooting style of the show. However, he knew that he wanted to bring his own look to it too. Anytime the crew is shooting outside, they begin blocking out the sun, keeping the outdoors very shadowy using negative fill techniques. Eric felt Ozark was a cinematographer's dream to shoot- they use every tool to tell the story, and the producers allow the cinematographers to do what they wish within the style parameters. The show is shot more like a movie than a TV show, with time allowed to let scenes have space and play out, allowing the DP to shoot a closeup on a glass of whiskey or shoot a long shot out a window as a car pulls up, creating tension. Eric found that Jason Bateman as a director and producer knows exactly what he wants and is very technical and precise as a craftsman. Eric first went to college for graphic design. He started making animated videos and applied to American Film Institute to learn more about shooting. While at AFI, he discovered that he really enjoyed cinematography and after graduation, began working in commercials. But the idea of storytelling through longer forms of film and television really appealed to Eric. His first feature was Comet with director Sam Esmail (Mr. Robot), and his second feature, Frank & Lola, went to Sundance. Eric still shoots commercials as well, which is a great place to learn- commercial shoots tend to have a lot more resources, and these days commercials tend to be very creative, artistic and cinematic, with more crossover from film. Find Eric Koretz Instagram: @erickoretz_dp See all of the seasons of Ozark on Netflix. Close Focus: Dr. Strange in the Multiverse of Madness had a steep drop-off this week of 80% while Everything Everywhere All At Once, another multiverse movie, also had a drop-off but it was only down 11%. It's on track to become one of the highest grossing movies A24 has ever released. Illya's short end: Illya was just at the Pacific Northwest Lens Summit in Portland OR at Koerner Camera. The Lens Summit is a big gathering of lens techs and lens brands who were there showing off their new lens products. And someone who is always fun to see roaming Portland is The Unipiper. Ben's short end: The Slo Mo Guys who have a YouTube channel showing everything in slow motion. One of the most well known videos they've made show them shooting bullets through eggs, cranking a special Phantom camera up to 1 million frames per second. Sponsored by
The Cinematography Podcast Episode 167: Gregory Middleton Cinematographer Greg Middleton's intention in his work is never to make viewers think, “Oh wow, cool shot!” He wants them to be able to experience the movies or television series he shoots without drawing attention to the cinematography or lighting. For him, the art of cinematography is about making illusions, and convincing audiences that they are actually somewhere else. Greg was excited to work on episodes 1, 3, 5, and 6 of the series Moon Knight on Disney+ because it's more of a personal and emotional journey for the character Marc/Stephen, rather than just the action and the superhero elements. He didn't know anyone involved in the project before he was hired, which is unusual, but director Mohamed Diab liked Greg's Emmy-winning work on HBO's Watchmen, particularly episode 6: “This Extraordinary Being” which dives into the past of Hooded Justice. For Moon Knight, episode 5 needed someone who could handle seamless transitions through multiple scenes in Marc/Stephen's past life. Greg also had experience from Game of Thrones working quickly in multiple foreign locations with large cast and crews. There were many challenges for shooting a show like Moon Knight- location work, virtual sets, twinning, and animated characters interacting with real characters. Greg also had to play a lot with reflections and light. Because Marc/Stephen has a form of mental illness called dissociative identity disorder (multiple personality disorder), his personalities often interact through reflective surfaces. Greg and director Mohamed Diab discussed and did extensive testing to figure out how they would make the reflections and successfully shoot them. Greg would move the camera, shoot the reflection one way, then later shoot it again to match it, or do a nodal camera pan, so that the perspective of the character doesn't really change, but the reflection does. For the museum bathroom scene with infinity mirrors, the visual effects team needed to paint out the camera and boom mic later. Because actor Oscar Issac was playing two different characters with different body language and accents, it was easier for him to play first one character and then the other, and he didn't usually switch quickly from one character to another. For Marc/Stephen's interactions with the god Khonshu, they used an actor in costume, adding a pole to make him seem 9 feet tall. Greg also used a very real-looking maquette of Khonshu's head to establish the proper lighting for the visual effects team to reference. The sets also incorporated small hints of Marc/Stephen's reality and dream world, so that deciding what is real is always in question. Find Greg Middleton Instagram: @middlecam See Moon Knight streaming on Disney+ Close Focus: Dr. Strange in the Multiverse of Madness made $187 million at the box office over the weekend. Not to be outdone, Everything Everywhere All At Once, another multiverse movie, continues to do well at the box office- even making over $700,000 in a single day weeks after it opened.
The Cinematography Podcast Special: Sundance 2022 documentaries and shorts It's been a busy few months and we finally bring you our interviews with four directors of documentaries and shorts from Sundance 2022. To The End is director and cinematographer Rachel Lears' follow up to her 2019 documentary, Knock Down the House. It once again follows representative Alexandria Ocasio-Cortez and three women environmental activists pushing hard for climate change legislation- first with the Green New Deal, then with President Biden's Build Back Better plan. Rachel wants people to watch the film and become inspired to engage in politics in the United States in order to build a better world. To The End is currently playing at the Hot Docs film festival in Canada and is seeking distribution. Find Rachel Lears Twitter: @jubileefilms Instagram: @racheliplears As the title suggests, TikTok, Boom. is about how the social media app TikTok has exploded for both viewers and content makers. Shalini Kantayya’s documentary explores the phenomenon, from the young people who consume it to the influencers who are now themselves a brand. But the Chinese company behind TikTok, Bytedance, uses the app for data mining, restricts certain content deemed too political, and could pose security risks for anyone watching or using TikTok. Shalini researched, found the TikTok influencers and shot the documentary very quickly. TikTok, Boom. also played at SXSW this year and has yet to be released. Shalini's previous film, 2020's Coded Bias is critically acclaimed and won several awards. Find Shalini Kantayya: Instagram @shalinikantayya Chiqui was inspired by director and writer Carlos Cardona's parents' immigration story. The television pilot takes place in 1980's New Jersey as the vivacious Chiqui and her husband Carlos have just arrived from Colombia and are looking for work. Carlos set out to make it as a feature film, but decided to develop the story into a television series instead. To keep it true to the look of the 1980's he decided to shoot it on super 16mm and used Zeiss super speed lenses. Carlos is currently developing Chiqui into a television series. Find Carlos Cardona: Instagram @carlos.cardona The comedic short film Daddy's Girl is writer and director Lena Hudson's third short film. Alison is a young woman in her 20's who is a bit aimless, and her father comes to help her move out of her wealthy older boyfriend's apartment. Lena had been playing around with the idea of a father/daughter movie that would be short and filmable, especially during COVID. Daddy's Girl also screened at SXSW this year and Lena is developing it into a longer feature film. Find Lena Hudson: Instagram @lenahudson Sponsored by Hot Rod Cameras LIKE AND FOLLOW US, send fan mail or suggestions! Facebook:@cinepod Instagram: @thecinepod Twitter: @ShortEndz