The Cinematography Podcast Episode 317 - Mihai Mălaimare Jr.: creating poetic reality in Megalopolis

For cinematographer Mihai Mălaimare Jr., ASC, his work with director Francis Ford Coppola from Youth Without Youth to Megalopolis has been a journey of constant education and evolution. Coppola, known for embracing new technology and a dynamic, on-set creative process, frequently pivots to explore fresh ideas in the moment.

Megalopolis is Mihai’s fifth collaboration with Coppola. Their partnership began when Coppola came to Romania to shoot Youth Without Youth and scout some locations for Megalopolis. Mihai recalls first encountering Coppola’s “crazy ideas.” “I was like, yeah, that’s crazy, but I’m 29, fresh out of film school and I’m working with Francis, so I better do it. And then you realize how much better the scene gets.” This relationship fostered a unique trust. “Little by little, we got in this interesting dynamic where I’m craving those moments. And I know it can be a really stressful situation when you prep, all of a sudden you change it 180 degrees. But I know that somehow we’ll be able to find a solution and it will be better than anything we planned. And it’s interesting- every single time, the scene got better.”

Coppola had been developing his ideas for Megalopolis for decades, and shot test footage in 2001 with director/cinematographer Ron Fricke. He sought an ethereal, “poetic reality” with no specific timeframe, a concept Mihai initially found challenging to prepare for. However, the early footage provided crucial visual cues, and some of it was later integrated into the film. Coppola also collaborated with visual concept designer Dean Sherriff, who created a set of art keyframes for specific scenes, which guided Mihai’s framing, shots, colors, and lighting. A gold and sepia color scheme added to the film’s ethereal look. “It’s such an amazing process of discovery with Francis,” says Mihai. “We did some storyboards, but very few. We never really shot listed. We were talking about things in general, but the idea is that when you go on set, and you have the actors, and you have sets and costumes and everything, you want to let yourself be inspired by the actors and the blocking more than just your plans and ideas.”

While major scenes in Megalopolis were filmed on an LED volume stage, the movie creatively blends VFX, practical effects, and in-camera techniques. For a beautiful dreamlike driving sequence, Mihai used poor man’s process for the car interiors, combining it with moving set pieces, miniature cars, and live actors dressed as statues.

Coppola’s long-standing admiration for the minimalist style of filmmaker Yasujirō Ozu influenced a preference for static camera work, with minimal dolly shots, tilts, or pans. “It’s all about the frozen frame,” Mihai explains. “It’s a certain aesthetic that I like, because it’s closer to still photography. There are things that are happening that you don’t think of. First, you have to make sure that the composition is really spot on. And also, it’s again the idea of contrast. When you do move the camera, that better be for a good reason.”

Find Mihai Mălaimare Jr.: Instagram:@malaimarejr_cinematography @malaimarejr_photography

Hear our previous interviews with Mihai Mălaimare Jr.

Megalopolis will be on tour in select theaters starting July 20 with Francis Ford Coppola doing a Q&A after.

CAMERAS: ARRI Alexa 65, LF, and Mini LF

LENSES: Panavision Panaspeed, Primo Artiste, Sphero 65, Helios, and Lensbaby lenses

Close focus: A discussion of who’s in charge in Hollywood- the old guard vs. new guard. When people like Francis Ford Coppola were up and comers, it seemed like studio heads were younger and more willing to take risks. Today, they are older and risk averse.

Ben’s short end: The documentary Alan Pakula: Going for Truth on Tubi, about the director Alan Pakula.

Illya’s short end: Squid Game Season 3.

Sponsored by Hot Rod Cameras

Sponsored by ARRI: ARRI’s ALEXA 35 Live – Multicam System is used in the Shirin David “Schlau aber blond” live music tour. You can buy ARRI products at Hot Rod Cameras.

Check out the new Betty Luminous Reflector at Hot Rod Cameras! The Betty Luminous is a full-spectrum light reflector designed to beautifully flatter human skin. Its fresnel-like directionality provides focused illumination while its gentle Gaussian falloff ensures a soft, natural look.

Sponsored by Greentree Creative: If you enjoy The Cinematography Podcast and you’re interested in growing or starting your own podcast, contact Alana Kode at Greentree Creative. Greentree Creative can help you with all of your digital marketing needs including podcast launch and creation, advertising, social media management and content creation.

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Podcast Credits:

Producer: Alana Kode

All web and social media content written by Alana Kode

Host and editor in Chief:  Illya Friedman

Instagram: @illyafriedman @hotrodcameras

Host: Ben Rock

Blue Sky: @benrock.com

Instagram: @bejamin_rock

Composer: Kays Al-Atrakchi
Check out Kays’ new YouTube Channel, Kays Labs, where he repairs old synthesizers.

Editor: Charlie Nix