Cinematographer Jason McCormick returns to Go Creative Show to discuss his work on the FX series Love Story, beginning with the story of John F. Kennedy Jr. and Carolyn Bessette. Jason breaks down how he approached the visual language of a romantic story after working on darker projects like Dahmer and Menendez, and how the show's look evolved through instinct, collaboration, and trust.

Jason shares how the project came together quickly when he stepped in just weeks before shooting the pilot, and how working with director Max Winkler allowed the show's style to develop organically on set. From choosing the 1.85 aspect ratio and developing a custom LUT inspired by 90s film photography, to navigating the challenges of shooting in New York City, Jason explains how cinematography can support emotion, character, and story.

The conversation also explores the realities of working in today's film industry, the importance of pacing yourself during long production runs, and why great cinematography often comes from staying flexible and responding to the moment.

• How Jason McCormick developed the visual style of Love Story

• Why aspect ratio and color pipeline are the first decisions he makes on a project

• Creating a custom LUT inspired by film photography

• The challenge of stepping into a project late and making it your own

• Shooting romance versus darker subject matter like Dahmer

• Navigating paparazzi and location challenges while filming in New York

• Why flexibility and instinct are key tools for cinematographers

• Entering the project shortly before shooting the pilot

• Working with director Max Winkler

• Developing the show's color palette and LUT

• Choosing lenses and aspect ratio for the series

• Building visual language for a romantic story

• The influence of paparazzi photography from the 1990s

• Filming in Manhattan and dealing with paparazzi on location

• Balancing creative instincts with production realities

• The current state of the film industry in Los Angeles

• Cinematography starts with the shape of the frame and color pipeline, not the lighting.

• The best visual ideas often come from reacting to actors and locations in the moment.

• Trust between departments allows filmmakers to work faster and more creatively.

• Great cinematography isn't always about complexity — sometimes the right shot is simply putting the camera in the perfect place.

LINKS

'Love Story' Series on Hulu
Jason McCormick's Instagram
Go Creative Show Instagram

In this episode of the Go Creative Show, cinematographer James Whitaker discusses his work on the film 'Good Luck, Have Fun, Don't Die,' directed by Gore Verbinski. The conversation covers the film's unique genre-bending narrative, the challenges of cinematography within a limited budget and timeframe, and the creative decisions that shaped its visual style. Whitaker shares insights on lighting techniques, camera choices, and the importance of collaboration in filmmaking. He also expresses concerns about the impact of AI on the creative industry, reflecting on the balance between technology and human artistry.

Takeaways

The film's title reflects a parental warning about technology.
AI poses real challenges that society must address.
Working with Gore Verbinski is both fun and creatively fulfilling.
Genre-bending films allow for unique storytelling opportunities.
Realism in cinematography enhances audience engagement.
Budget constraints require innovative solutions in filmmaking.
Lighting plays a crucial role in conveying emotional depth.
Collaboration with the crew is essential for success.
Imperfection in filmmaking can serve the story.
AI's impact on creative jobs is a growing concern.

Follow our Guest

https://www.instagram.com/jameswhitaker_dop/

Follow our Host

https://www.instagram.com/benconsoli/

What can puppetry teach filmmakers about acting, storytelling, and cinematography?

In this episode of The Go Creative Show, host Ben Consoli sits down with puppeteer and filmmaker Andrew G. Cooper (Fraggle Rock) to break down the filmmaking discipline behind puppetry—and why it might be one of the most underrated tools for learning visual storytelling.

Andrew shares how puppets demand clarity in performance, intentional framing, and disciplined direction, offering lessons that translate directly to working with actors and cameras. They explore in-camera effects, the resurgence of practical filmmaking, and how creative constraints often lead to stronger storytelling. Andrew also dives into his experience working on large-scale productions and how puppetry informs his work as a writer and director, including a feature film currently in development.

Whether you're a cinematographer, director, or storyteller, this conversation will change how you think about performance on screen.

TAKEAWAYS

• Andrew G. Cooper's journey into puppeteering began with his mother's local puppet TV show.
• The transition from theater to film puppetry involves understanding the frame and camera techniques.
• Bringing life to puppets involves weight, breath, and focus.
• Puppeteers are often actors and directors, integrating their skills into performances.
• The resurgence of practical effects is driven by a desire for tangible, real experiences in media.
• Constraints in puppetry can lead to creative solutions and improvisation on set.
• Andrew's experience on Fraggle Rock was a significant leap from theater to television production.
• Training and passion are essential for aspiring puppeteers and filmmakers.
• The collaborative nature of film production allows for puppeteers to contribute creatively.
• Andrew is developing a feature film that explores cosmic horror with puppetry.

LINKS

www.andrewgcooper.com

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