Alik Sakharov and the art of the impossible

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You don’t know him. I bet.

But if you happen to go to Amazon Prime and watch the “Pride and Prejudice” episode of Goliath, you will know what I am speaking about. He is the director who directs Billy Bob Thornton in this most awesome show.

Or if you are on Hotstar and you would want to revisit the Fire and Blood episode from Game of Thrones from back in 2011. He is the Director of Photography in that and some other episodes from that year. The lighting and the framing is a thesis for any film student.

Or if you are still at Netflix and would want to see Ozark, then you will find him doing the most important episodes 2.7 and 2.8 in that series. You would marvel at what this man is able to conjure up.

It is shape shifting greatness. Historicals, crime stuff, dramas, and if you look at The Sopranos as a family saga, then sagas too.

Amazing breadth of work and amazing dexterity in handling cast and crews from all over the globe at locations so different that you begin to think about the person’s visual creativity. Rome. Dexter. Black Sails. And how can I forget the masterful House of Cards!

I was watching Goliath yesterday and a small detail crept up on me. In the episodes, he directs, he swills drama into scenes by simply going from tight close ups to diffused low angles when it suits the screenplay. It’s like, okay, you have studied the man and his emotion and so now have a look at his immediate environment, the squalor or the role the surroundings are playing on his emotions.

Basically, feel him, a bit.

And bingo! We get it. Very good work from this man. Netflix should insist that he directs more episodes in Ozark in the next season. Or are they already insisting?

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