Show Notes
Director Dave Boyle and DP Patrick Ouziel on making the ghost story Never After Dark in Japan: a 28-day shoot, a backlit zoetrope mirror, and in-camera magic.
Podcast highlights: -How Boyle, fresh off the Netflix hit House of Ninjas, made the film in Japan. Cast and crew were locked in before the script was finished, a development cycle very different from what happens in Hollywood's. -What it's like to shoot in a language you don't speak. Ouziel worked through a translator and alongside lighting director Hidenori Nagata, whose traditional fixtures and custom mirrors changed how he thinks about light. -How they built the spinning, ghost summoning zoetrope mirror and captured its reflections in camera. With careful tests and planning, Ouziel filmed all the mirror shots exclusively with in-camera effects.
Never After Dark opens September 25 in New York and Los Angeles and expands nationwide October 9. Find Never After Dark in theaters: https://www.magpictures.com/neverafterdark/ Find Dave Boyle: https://www.imdb.com/name/nm2279419/ Instagram: @thedaveboyle Find Patrick Ouziel: https://www.patrickouziel.com/ Instagram: @patrickouziel
Hear our previous interview with Dave Boyle on House of Ninjas: https://www.camnoir.com/ep254/
Show Rundown: 02:16 Close Focus 13:03-01:01:42 Interview with Dave Boyle and Patrick Ouziel 01:02:14 Short Ends 01:08:49 Credits
The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social
More from The Cinematography Podcast
Cinematographer Matheus Bastos on shooting Gazer and Anima on 16mm with little money, how handheld and zooms track character, and why focusing on the work beat chasing an agent. This episode is a candid look at how limitations, story and trust shape a career, from a scrappy $80K film shoot to the call that changed everything.
Scott "Smitty" Smith, the IMAX camera technician behind Oppenheimer, Sinners and The Odyssey, on large format film, servicing cameras and why film costs less than you'd think.
Furious DP Doug Emmett breaks down how the production team aligned on tone, lighting a penthouse with floor-to-ceiling windows, and creating a red-lit party scene.
Director Wesley Wang on building Wesley Wang Media, an indie studio incubator for online creators, launching a $100K open contest, and staying a filmmaker himself.
Remembering cinematographer Rodney Charters, ASC, dp of 24, Sleepwalkers, and much more in this classic Cinepod conversation on craft, career, and lighting.