Show Notes
Margo's Got Money Troubles DP Tari Segal, ASC approached the show with spontaneity, intimacy, and a creative way to bring static backdrops to life. Margo's Got Money Troubles follows a young woman navigating an unexpected pregnancy, a complicated family, and some very creative ways to pay the bills. It’s one of the most visually inventive comedies currently streaming. Tari shot four of the show's episodes.
Key Podcast Highlights:
-How Tari and the team built a shooting style rooted in spontaneity that allowed the actors freedom of movement on set. -Using actual licensed music piped into the crew's headset and actors earpiece so the camera could keep tempo with the final cut. -Developing the visual language of the show, sometimes shifting from handheld, Steadicam, and studio modes {X} in the same scene. -Shooting the entire Vegas episode in just three days, and the practical tricks Tari used to make four-walled L.A. sets read convincingly as Las Vegas.
Find Tari Segal: https://www.tarisegal.com/ Instagram @tarissegal
SHOW RUNDOWN:
02:22 Close Focus 11:34-01:00:43 Tari Segal interview 01:01:17 Short ends 01:09:22 Wrap up/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 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.
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.