This year’s batch of Emmy-nominated series is rich with visually arresting locations that subtly buttress dramatic themes and flesh out the lives of its leading men, from the Altadena Craftsman that serves as the home of grieving therapist Jimmy (Jason Segal) in Apple TV+’s “Shrinking” to the California prisons (the California Correctional Institution in Tehachapi and the Stark Youth Training Facility in Chino) that house Bill Hader’s title character in HBO’s “Barry” to the downtown L.A. high rise where covert-agent-on-the-lam Dan Chase (Jeff Bridges) lives when he’s posing as a wealthy investor in FX’s “The Old Man.”
And, it turns out, choosing a location is not dissimilar to casting an actor, with looks, price, and personality all factoring into the decision.
For the fourth and final season of HBO’s “Succession,” the production traveled from its New York City base in search of...
And, it turns out, choosing a location is not dissimilar to casting an actor, with looks, price, and personality all factoring into the decision.
For the fourth and final season of HBO’s “Succession,” the production traveled from its New York City base in search of...
- 8/20/2023
- by Todd Longwell
- Variety Film + TV
Among the many darkly mystifying and enigmatically surreal sequences that populate director David Lynch’s “Twin Peaks” revival, the eighth episode offers one its most compelling: Mr. C — the Black Lodge doppelganger of Special Agent Dale Cooper (both played by Kyle MacLachlan) — stops on a lonely, darkened highway to confront his traveling companion Ray Monroe (George Griffith) at gunpoint. After Ray shoots the evil entity himself, a bizarre pack of grimy, shadowy woodsmen emerges from the forest and tears C apart, extracting a sack containing the face of Bob, the series’ longstanding malignant spirit. Lynch leaves the sequence to be interpreted and decoded by the audience — and his crew, which shoots scenes without an exact linear context.
Peter Deming
Director of photography
“It’s obviously very dark — there are no light sources around except for the car. When it came time for the woodsmen to appear, we shot some shots...
Peter Deming
Director of photography
“It’s obviously very dark — there are no light sources around except for the car. When it came time for the woodsmen to appear, we shot some shots...
- 6/7/2018
- by Scott Huver
- Variety Film + TV
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