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Showtime’s Homeland: Producer
and director Lesli Linka Glatter

By Iain Blair

Since it first premiered back in 2011, the provocative, edgy and timely spy thriller Homeland has been a huge hit with audiences and critics alike. It has also racked up dozens of awards, including Primetime Emmys and Golden Globes.

The show, which features an impressive cast — namely Claire Danes and Mandy Patinkin — is Showtime’s number one drama series. Produced by Fox 21 Television Studios, it was developed for American television by Alex Gansa and Howard Gordon. Homeland is based on Gideon Raff’s Israeli series, Prisoners of War.

Lesli Linka Glatter is an award-winning director of film and episodic dramas. Her TV work includes The Newsroom, The Walking Dead, Justified, Ray Donovan, Masters of Sex, Nashville, True Blood, Mad Men, The Good Wife, House, The West Wing, NYPD Blue, ER and Freaks and Geeks, just to name a few. Most recently, she directed the first two episodes of Dick Wolf’s limited series Law & Order: True Crime — The Menendez Murders for NBC.

Glatter was nominated for a fifth Emmy for directing the Homeland episode “America First,” and in 2015 and 2016 she was also among the producers acknowledged when Homeland received back-to-back Emmy nominations for Best Drama.

Glatter began her directing career through American Film Institute’s Directing Workshop for Women, and her short film Tales of the Meeting and Parting was nominated for an Oscar. Her first series was Amazing Stories, followed by Twin Peaks, for which she received her first Directors Guild Award nomination. She made her feature film directorial debut with Now and Then, followed by The Proposition. For HBO she directed State of Emergency, Into the Homeland and The Promise.

To say her career has been prolific is an understatement. I recently spoke with Glatter about making Homeland, the Emmys, her love of post production and mentoring other women.

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The Orville VFX supervisor
on mixing practical, visual effects

By Barry Goch

Luke McDonald worked with director Jon Favreau and creator Seth MacFarlane on a hybrid approach to get the shots they needed.

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Indie film Hoax calls on ACES
By Debra Kaufman

The Academy Color Encoding System is not just for blockbuster feature films. Smaller projects can take advantage as well.

Read More >


Hobo’s sonic treatment
for Quest documentary

Lenovo intros 15-inch
VR-ready ThinkPad P52

Luke Scott to run the new Ridley Scott Creative Group

Behind the Title: Deluxe Sr. Finishing Editor Sam Uber

Boxx’s Apexx SE capable
of 5.0GHz clock speed

Kees van Oostrum on
return as ASC president

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