“It was great!” exclaims the director of photography Larkin Seiple, recalling the moment he found out he was nominated for the first time at the Emmy Awards for “Gaslit”. “I got a text from my agents and they just said ‘Congratulations,’ and I was confused because they didn’t say why. I was like, ‘What’s going on? ‘ and they said to me: ‘You are nominated!’ I checked the list and five of my other friends had been nominated, which is pretty surreal. It was also fun to share it with a bunch of other nominees. It was a trip!” Watch our exclusive video interview above.
Seiple is nominated for Best Cinematography for a Limited Series. “Gaslit” premiered on Starz on April 24 and shines mostly on Martha Mitchell (played by julia robert), a great personality and whistleblower who was the first to publicly expose of President Richard Nixon participating in Watergate. She was an Arkansan socialite and the wife of loyal Nixon campaign chairman and former attorney general, John Mitchell (played by Sean Penn). During Nixon’s re-election campaign, Martha made frequent appearances on news and variety shows and graced the covers of the nation’s most prominent magazines, where her frequent, unfiltered, impulsive airing of opinion personalities earned him the familiar title “The Mouth of the South”. ”
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“I knew about Martha Mitchell because they did a ‘Drunk History’ on her story,” Seiple reveals. “But I think the show was made because it’s an untold story for the most part. Obviously she was a celebrity at the time, but actually seeing the events and seeing it from her perspective was new and compelling.
Before boarding the Starz series, Seiple had never been introduced to the show’s director, Matt Ross. “When I first met him, he didn’t want it to be an ode to the 70s. He also didn’t want us to constantly fight to make it seem like we were literally there. He wanted to focus the visuals around the characters and the story. What was fun was that there were a lot of characters on the show who were both heroes and villains, and he wanted to be empathetic to both of them. Our whole approach was not to show that we were a 70s show, but to feel what it was like to be with someone in the 70s. To see the nuances, but not to distinguish them. We wanted it to be a very personal story, so we designed looks and lenses through each character in the film.
The cinematographer goes on to explain the memorable shots and techniques used throughout the series. He also talks about working on the summer’s surprise hit movie, “Everything Everywhere All at Once.”
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