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EDITORIAL Editor in chief Nicola Foley nicolafoley@bright.uk.com Senior staff writer Katie Kasperson Features writer Oliver Webb Chief sub editor Matthew Winney Sub editors Zanna Buckland, Minhaj Zia Editorial director Roger Payne rogerpayne@bright.uk.com Contributors Barry Bassett, Adrian Pennington, Phil Rhodes ADVERTISING Sales director Sam Scott-Smith samscott-smith@bright.uk.com 01223 499457 Sales manager Emma Stevens emmastevens@bright.uk.com 01223 499462 | +447376665779 DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer Hedzlynn Kamaruzzaman Ad production and junior designer Holly May
ew shows manage to capture public attention and headlines like Adolescence has. What’s even rarer is that people aren’t just talking about the story, but the way it was made (music to our ears!). As you’ll know by now, each of the show’s four episodes was shot in a single, continuous take, giving the whole thing a relentless intensity that suits its narrative perfectly. Unsurprisingly, pulling it off was a massive challenge for the production team – and we couldn’t wait to catch up with rising star Matt Lewis, the series’ DOP, to hear how they did it. Turn to page 8 to read all about the perseverance, technical skill and blind faith that made Adolescence a reality. Another show I’ve been hooked on – along with most of the world – is Severance , Ben Stiller’s dystopian workplace drama. DOP (and occasional director) Jessica Lee Gagné walks us through building the innie and outie worlds, the show’s unique lighting design and everything else that went into crafting Severance ’s singular look over on page 40. Elsewhere in the issue, longtime collaborators Paul Dingwall and Alex Winckler reflect on the ‘unshakeable bond of trust’ that makes their relationship work, while gaffer Harlon Haveland breaks down his lighting approach on Guy Ritchie’s MobLand . In this month’s Fireside Chat (page 70), VMI’s Barry Bassett lays down some cold, hard truths about the state of the kit rental industry; and with true crime content topping the charts, we ask: what are the filmmaker’s responsibilities when real families are living with the impacts? An editor, cinematographer and director weigh in on the line between art and exploitation on page
PUBLISHING Managing directors Andy Brogden & Matt Pluck
46. I also caught up with Hillary Fyfe Spera, cinematographer on the latest addition to the MCU, Daredevil: Born Again ; she breaks down her two favourite shots on page 6. Enjoy the issue!
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