#bill dubuque

[egipci]

use a photo on your phone camera roll and write a quick scene/hc for it

Dubuque, 2004

In the space of three hours that no-good son of a bitch Lee Webb had Dean swaying on his feet. John opened the door and stepped slow over the threshold and there they were with their startled faces, sitting on the couch and their feet up on the table, more than a dozen cans around them and John’s Jack empty, a half-empty bottle of clear liquor and some bills next to it. In slow motion they turned towards the door and saw him and when they saw him the TV flickered between channels and the volume went up too loud before it went down and they sprang up and one of them knocked a can over that tipped and rolled and poured what was inside out on the carpet with a fizzing sound.

He toed his shoes off and took his belt off with the holster and the sidearm. A news channel on the TV now. It was the one week anyone ever gave a shit about Iowa. Everywhere outside college kids and slow-walking retirees trudged through snow and knocked on doors with clipboards in hand, having come down from god knows where to hound the good people of this state. It made his job easier. It made people more willing to talk. Not at first, but when they knew he wasn’t looking to talk politics they looked at him with wide grateful eyes. He knew something about wars, justified and un-, but that was no bar talk and he wasn’t one to bring it up. Got served free doubles by a generous, big-breasted woman for respecting the sanctity of the barroom. She poured all the way up to the lip of the glass, like she could turn water into liquor, like there was a surplus in the back room to be rid of. There was this sense she was making advances and it left him warm and his mind briefly empty and that was when Webb said something about divide and conquer and pulled Dean out, off to interview coeds for the school paper.

Now the kid stood in front of him with the TV remote in his hand and his arm around Webb’s shoulder, and Webb’s arm was around his like one or the both of them could just tip over. He said Dad like he did, his voice dipping, a smile on his face that turned into a grin that turned into a laugh, and he reached out and grabbed hold of John’s forearm like he was about to yank him closer. Then he did. He tugged at John’s arm, hard, looked down at his hand, let go, swallowed, laughed again shocked and sloppy, sloppier than John had seen him since— and looked over grinning at Webb to his left, and that was when Webb opened his mouth or maybe that was only when his voice broke through and John heard him finally, obnoxiously loud, running his mouth, saying something like John, man, we’re just about to call some— and John looked at him then for the first time and Webb’s smile fell. His face was so pink and pathetic-looking that John felt something vicious under his skin, ringing in his ear. He was shaking and his hand was shaking with the gun in it and it was like the pinkness had bled out of Webb’s face and into the room and had stained everything, and before John could say anything cruel or make some degrading thing happen to that asshole he was saying, Sir, are you okay? High-pitched and shaky, and John said, Let’s call it a night, Lee.

Yes, sir.

We’re on a fucking job, he said.

Yes, sir, Lee said again, that’s right. He turned to Dean and looked at him like everyone had looked at the kid since he was fifteen years old. He cleared his throat and said solemnly with furrowed brow, We’re on a fucking job, dude, and put his hand to Dean’s chest and Dean nodded, wrapped his fingers around Lee’s wrist and said, We’re on fucking job, I fucking told you, and for a second the two of them were kids laughing like they were alone in the room. It made John feel old and friendless. Dean’s ears were red. He was grinning and a flush was creeping up his neck. He let go of Lee’s wrist then and Lee pulled him closer with the arm across his shoulders, a half-hug all friendly and jovial, and clapped his hand once to Dean’s chest and said, See you tomorrow, brother, before parting in slow-time. And then, Good night, sir, his eyes at John’s feet as he made his way out. Dean watched him go. Then he looked at John with that earnest drunk grin on his face.

John’s blood thumped inside his head. He closed his eyes, rubbed at them with the flat of his palm and in the time it took him to unclench his jaw Dean had put one arm around his neck, the other under his suit jacket. When he sighed his chest pushed against John’s chest. He said hey. Then he said, You okay, Dad? with that sweet alcohol smell coming off him, his voice trailing at the end of it like it hurt to speak.

John knew all about that too. He pushed the kid back. Dean tripped backwards and sank down to the couch and reached out again for John’s arm and pulled him closer. He pushed his face at John’s hip. His hair was wet at the roots when John ran his fingers through it and he looked up with his dazed eyes red and his mouth red and his cheeks flushed. What the fuck happened here?

We burned the bones.

What did you take?

Gotta ask Lee.

Gotta kick you out.

Okay.

He tugged meanly at the kid’s hair. It was grown out and it made him look like his brother and so much younger John’s heart swelled up and pressed behind his ribs, threatening to jump out. He said, Clean this shit and get the fuck out.

Again Dean said okay but when he hadn’t moved John slapped him. Not hard, more like a tap. It made a low, muted sound. Just the four of his fingers across the kid’s cheek, thumb tracing down from his eyebrow to his cheekbone. Dean leaned into it, his breath at the inside of John’s wrist, the scratch of his stubble, his hot red ear. John touched his thumb to Dean’s mouth. If he weren’t drunk already just looking at the kid would get him there.

Dean sighed and got up and John took his jacket off and took his place on the couch and as he sat down he felt the liquor sloshing warm inside him. For a minute he watched the kid move slow around the room, careful, sobering up. He put the empty cans into the box and left a new one on the table. John flipped through the channels until he found little Boris Grushenko asking about girls in heaven. He laughed then he yawned and closed his eyes and saw again the woman behind the bar with the big breasts and the snow outside melting. He thought of all of the snow in Iowa and the rest of the world melting and flooding everything and the woman behind the bar turning the water into liquor. There was the sound of the toilet flushing. Then there was only darkness, no telling for how long, until Dean touched his shoulder. He said, Dad. It’s late.

Sure is.

It’s snowing outside, Dean said. And I already took my pants off.

John looked at him. His pants were off. He’d turned the lights off and now he stood in his boxers and his socks and his black t-shirt in the TV glow.

That’s too bad, John said, then he closed his eyes and leaned back and heard Dean’s feet shuffling and the breath he took and his knees sinking into the sorry bounceless couch. He straddled John and dug his fingers into his shoulders. He said, I’m not going anywhere, his body bearing down heavy and warm on John’s thighs and his mouth skidding wet along John’s jaw— I’m not leaving— and this— this boldness, this back-and-forth— the kid was more gone than he’d thought and now thoughtless John put his hands around his ribs in that trembling way he’d held him at four months old. Overwhelmed then by his goodness, overwhelmed by how much he’d loved him and terrified of how much Dean had loved him back and of what it would mean if he ever stopped, and again at sixteen when he had. On his knees throwing up Dean had said it and John had known then that he meant it, that he couldn’t hold it against him. Eight, nine years since then. But it was the room, dark and hot like it had been then. What did that fucker give you? He asked, bile rising inside him, his voice something unrecognizable. It wasn’t pot, or anything else he could smell. Under his hands Dean’s shirt was damp with sweat, soaked through with it and warm and even through the alcohol John could smell him.

Dunno, Dean said. He took ‘em too, and John felt heat flare white all through him first in anger, then in need for Dean’s thighs flexing tight gripping him, Dean’s knees digging in around his hips, Dean’s fingers twisting in his shirt. Lee’s a good guy, the kid said.

I know.

Dean said, He wasn’t —slurred. He sighed. We were just hanging out.

Okay. John thought again about finding that motherfucker and scrambling his brains with a tire iron. His fingers clutched tight at Dean’s hair, at the back of his neck, too hard, maybe. The kid’s hands splayed wide leaning on his chest, pressing him into the couch. He’s a good guy, Dean said. You like Lee. John put his hands to his hips and tugged, pulled him closer so that Dean made a soft shocked sound and had to rise to his knees, straddling John’s chest almost with how close. His crotch right there where John could bury his face. He rucked the kid’s shirt up, pressed a kiss to his belly, pressed his cheek to Dean’s skin and felt his heat.

After a long minute Dean pushed him away. He said hey Dad in that way he did. The TV glowed blue but John could hardly see with his kid solid and broad blocking out everything. No seeing his eyes either except through shadow, but now his shirt was rucked up and John had his hands on him, his body the most familiar thing. His skin, his smell. The shape of his nose against John’s cheek when he leaned down to fit their mouths together. The way he kissed, which was the way John had taught him. He’d know this kid with his eyes gouged out. His hands moved over Dean’s arms, his thighs, his ass, his back, fingertips over strong muscle loving him and loving the weight of him. Loving his danger. His masculinity. Dean’s mouth moved slow and sure on his for a long time, his hips grinding in tight, a constant keen in his chest and his dick swelled up between them and he reached for it and broke away and said right against John’s mouth in a small wrecked voice fuck me I want it why don’t you fuck me anymore you never— and John took his face in his two hands and knocked his mouth open and swallowed the rest of it, whatever else the kid could say, and thought that would have to be enough.

Too long since John had had him. But here in the dark with the TV on he could. He could. For the first time in years, Dean loose-limbed under him on the bed with his legs held back and the air pushed out his lungs, making those sweet suffering sounds. Blooming wherever John touched him. Sweating through the sheets. He’d open up so easy.

Dad, Dean said again, small and wanting, but John only shook his head. All the while his hands were on the kid, soothing up and down his back. He swallowed and smiled and said, You’re about to pass out, man. You pass out on me, then what? and Dean said you keep going, just—I don’t care, I want it, eager, mindless, and John said what, sick-feeling inside him and thoughts of striking the kid or shoving him away or cracking his head open on the edge of the table, of hunting that fucker down— wait, Dean said, I won’t pass out, I won’t, shaking his head, but already John’s hands were around his hips, pushing. Dean’s hands clenched vise-tight around John’s wrists, sent pain sparking up his arms. John made an old-hound noise. Even drunk as he was the kid was strong. He wrenched John’s hands off him and held them in the space between them and sat there with his head bent down and his chest heaving loud, shaking his head. His whole body shaking. Used to be John could grab both this kid’s hands in one of his. Now look at him. Just about all he could bear these days. Earnest, terrifying things coming out his mouth that John could never stand but even then he couldn’t look away. He searched for the kid’s eyes. But it was dark, and Dean had turned away from him.

[a1kushmusic]

A1 Kush - Marty Byrde Ozark Music Song and music Inspired by the Netflix television series Ozark Bill Dubuque and Mark Williams created the American criminal drama television series Ozark for Netflix. MRC Television and Aggregate Films produced the show. The show's lead actors, Jason Bateman and Laura Linney, play married couple Marty and Wendy Byrde, who relocate their family to the Lake of the Ozarks and start working as money launderers. . . . #netflix #hiphop #trend #video #netflixseries #new #insta #music #trending #love #ozark https://www.instagram.com/p/CpIe5PNLp_2/?igshid=NGJjMDIxMWI=

[diegoleivablog]

OZARK 2017-2022

OZARK es una serie creada por Bill Dubuque y Mark Williams para Netflix, cuenta con solo cuatro temporadas y cuarenta y cuatro episodios, incluido el piloto. Está ambientada en la actualidad, en las ciudades de Chicago y en el lago Ozark en Missouri Estados Unidos. Es un clásico drama familiar con problemas "capitalistas"muy modernos como lo es traficar dinero para un cartel de drogas mexicano.

"'Ozark' derriba clichés dramáticos varias veces (...) pero siempre resulta convincente. Linney está, como siempre, magnífica. Y el Lago de los Ozarks, donde las aguas profundas nunca se alejan de la orilla, es un regalo."  The Guardian.

"'Ozark' es inteligente, está bien hecha y tiene cosas que decir." Variety.

Creadores: Bill Dubuque y Mark Williams

Directores: Jason Bateman, Laura Linney, Robin Wright, Daniel Sackheim, Andrew Bernstein, Ellen Kuras, Phil Abraham, Alik Sakharov,Ben Semanoff, Amanda Marsalis, Cherlen Dabis, Benjamin Semanoff, Alik Sakharov, Melissa Hickey,

Compositores: Danny Bensi,Saunder Jurriaans

Actores: Jason Bateman, Laura Linney, Sofia Hublitz, Skylar Gaertner, Julia Garner, Jordana Spiro, Jason Butler Harner Esai Morales, Peter Mullan, Lisa Emery, Charlie Tahan,Janet McTeer, Tom Pelphrey, Jessica Frances Dukes,Felix Solis, Damian Young, Alfonso Herrera, Adam Rothenberg.

Temporadas: 4

Episodios: 44

Plataforma: Netflix

Los Byrde son una familia de chicago bastante común de clase media alta, bastante tranquila y de buena situación económica.

Aparentemente en sus vidas no existen muchos altibajos ni emociones tan rimbombantes. APARENTEMENTE.

Digo aparentemente porque ya en el primer capítulo nos enteramos de la infidelidad de su mujer Wendy ( Laura Linney) casada por mucho tiempo con Marty Byrde ( Jason Bateman) desde ahí nos percatamos de la inoperancia emocional del protagonista para afrontar esta inquietante noticia que vino a desordenar su aparente y tranquila vida familiar.

Mientras Marty piensa en cómo confrontar a su esposa wendy, con una admirable templanza, que será característica del personaje a lo largo de la serie, algo similar a lo que hizo Al Pacino en el Padrino Parte dos, interpretando a un Michael Corleone totalmente sereno encarando las situaciones más peligrosas con mucha pero mucha calma. Asi en la serie nos enteramos también que Marty es un financista, dedicado a la contabilidad general para muchos negocios de distintos rubros, dentro de esos negocios en el horizonte inmediato está el lavar dinero para un cartel de la mafia mexicana.

Como si la tortura de haber visto a tu mujer practicarle sexo oral a su amante no fuese suficiente tortura, el cartel mexicano se entera que uno de los socios de Marty, le ha estado robando dinero durante mucho tiempo, el cartel no está convencido de que Marty tenga algo que ver en todo eso, y le perdona la vida por esa única vez.

Sin embargo convencido de su inocencia, Marty de manera muy ilusa acepta intelectualmente hacerse cargo 100% el mismo del lavado de dinero para el cartel mexicano, una tarea para nada fácil, que los números contablemente no estuvieran a su favor no era terrorífico para Marty en ese momento, el terror comenzaría con asumir la deuda de su socio, los intereses creados que tendría a futuro con la mafia mexicana, hacer cómplices y contarles la verdad a toda su familia ( quienes desconocían el trabajo de marty) comenzar una vida de cero en un lugar llamado Ozark con personajes que durante toda la serie harán tambalear la cordura de Marty y su esposa Wendy byrde.

La serie Explora la intimidad de una familia que como todas las familias o creo que la mayor parte de las familias, son unidas y muestran atisbos de un amor fraternal.....quizás, no se como enfrentarían estos problemas extremos como la de los byrne, encararían un problema de drogas internacional como lo hacen ellos. Inmediatamente todos los integrantes de la familia entran en el juego, cada uno asume un papel casi trascendente durante toda la serie, a excepción de la Hija Charlotte (Sofía Hublitz) quien asume una postura típica de adolescente rebelde y malhumorada que odia todos los cambios y que para mi gusto y solo enfocandome en los personajes principales el rol de ella es intrascendente y evoluciona poco y nada durante toda la serie, ya que pasa de quejarse mucho a quejarse muy poco sin evolucionar nada ni resolver conflictos centrales. Y eso no solo sucede con ella, también ocurre con secundarios y personajes ocurrentes que para mi parecer solo están como un respaldo para un personaje importante o principal, están como dicen en las teleseries de RELLENO y es uno de los puntos negativos de la serie. el único.

En cambio el menor de los hijos Byrde, Jonah ( Skylar Gaertner) tiene una evolución muy importante en la serie, desde el inicio siempre estuvo colaborativo con sus padres, nunca se opuso a la idea de comenzar de cero en un lugar apartado de su ciudad natal , todo lo contrario, al avanzar las temporadas fue mucho más activo en los negocios particularmente con Marty, de hecho aprendió a lavar dinero como su padre y a manejar armas con mucha prolijidad, esto último le ayudaría a salvar a su familia en el último capítulo de la serie ( algo que se vio venir )

Ruth Langmore (Julia Garner) es el personaje secundario con más potencial de la serie y que más minutos acaparó en pantalla, y esto debido a que su personaje fue presentado como una especie de antagonista de Marty y de los Byrde en general, pero que a medida que avanzaba la trama nos dábamos cuenta que se había convertido en la más leal de los aliados de Marty, una soldado que jamás rompería filas y que cautivada por la inteligencia de Marty, actuaría ciegamente a sus pedidos.Ruth siendo de la zona, ósea de Ozark conoce a la perfección cada detalle del lugar y de sus habitantes, se incluye su disfuncional familia que se vincularán de algún modo u otro, a la trama de los Byrde pero la idea de eso perecería mientras avanza la serie dejándole todo el espacio para que el personaje de Ruth crezca, tome fuerza y se convierta por fin en el pilar fundamental de la serie.

Wendy Byrde es el personaje principal más importante de la serie, su protagonismo nace, a partir de hechos ocurridos casi al final de la primera temporada, esto ya que su marido muestra serias incongruencias en las acciones de su negocio, y al verse sobrepasado por el hostigamiento del cartel Mexicano por lavar dinero de manera maratónica, del acoso del FBI, y de la animosidad de los locales con respecto a la llegada de la familia y sus nuevos negocios que le permitirán lavar dinero más eficientemente . La pareja iniciaría un declive aún más profundo del que ya estaba en ese momento, un declive que arrastrará a toda la familia y su entorno más cercano, eso incluye a los amigos locales, políticos, empresarios, abogados y hasta policías.

A medida que avanza la serie, la familia siempre tratara de estar unida pese al panorama poco existencialista, Marty, siempre buscara la forma de evadir los problemas internos de su esposa Wendy, algo que después de la infidelidad de está ya se transforma en lo habitual de los dos. El respeto por ella se ha perdido, ya no le preocupa la fidelidad de su esposa, le preocupa que se mantenga firme como su aliada en los negocios, algo que detona en Wendy una cierta ventaja sobre su marido, ya que ella es mucho más determinante, inteligente y también ambiciosa , ya que reconoce en si misma un cambio muy profundo que la hará liderar no solo la familia, sino también los negocios con los locales y el cartel de drogas.

Wendy a mi parecer fue la antagonista de la historia, ya que dejando de lado su infidelidad, algo que carece de toda objetividad e importancia en una relación actual, fue una villana muy interesante pero a la vez muy mordaz, ya que engaño, subestimo, mal intencióno soborno y manipulo mucha de las acciones que puso en peligro la familia, creyó por unos momentos que podría dirigir ella misma el negocio del lavado de dinero y encargarse a la vez de su familia, fue empresaria de la droga y madre devota de sus hijos, todo ocurrió muy rápido, mientras Marty hacía malabares para crear ingresos sustentables y proteger de cierta forma a su familia, Wendy jugaba al sentimentalismo con el jefe de la familia narco en méxico, y fue así, ya que Navarro ( Felix Solís ) logró un inusual acercamiento y satisfacía muchos de los caprichos de wendy, Eso sin contar el intento de robarle el hijo a Darlene ( Lisa Emery ) una feroz mujer y de armas tomar, terrateniente y socia de los Byrde en Ozark, pero nada como encubrir la muerte de su propio hermano con problemas de bipolaridad, Ben ( Tom Pelphrey ) quien de manera muy irónica acude a ella por ayuda, siendo que la más necesitada por ayuda, era la misma Wendy.

OZARk El FINAL DE LA SERIE

Muchos de los fanáticos y me incluyo, creíamos que la serie se extendería por lo menos una temporada más, para profundizar en los desenlaces de cada personaje, no fue así y debemos conformarnos con el final casi lírico y poético que nos entregó la maravillosa familia Byrde, que de un momento a otro, vivió una serie de aventuras muy desafortunadas TODAS, ya que esta serie es un ejemplo de que el CRIMEN NO PAGA y las acciones que tengas tampoco, eso en referencia al final que obtuvieron personajes icónicos de la serie, se habla de un Spin off reforzando las características bien escrita por lo demás, de Ruth y Jonah, una por ser una guerrera inagotable y el otro por ser el sucesor natural de los negocios de Marty y Wendy.

Los Byrde conforman la atípica historia de la familia sobreviviente a hechos extremadamente violentos y poco comunes, pero cuando nos adentramos a su historia, me convenzo de que la unión entre ellos es sumamente fuerte e inagotable y que de manera sorpresiva se sobrepone a todos los acontecimientos brutales que ocurrieron en su entorno, Los Byrde captan el peligro de una manera tan talentosa que llega a ser traumática pero que les permite sobrevivir y hacer frente a toda adversidad. Mientras tanto me agasajo de este refrescante guión y de la lírica cinematográfica puesta en escena, fiel en cada capítulo de todas las temporadas y para nada sensiblera.

[thecolorcommentary]

Peacock Announces Straight-to-Series Order of South Florida-Set Crime Thriller "M.I.A." Written and Executive Produced by "Ozark" Co-Creator Bill Dubuque

sourceThis content is sourced from http://www.thefutoncritic.com/

[geekpopnews]

Tessa Thompson irá estrelar adaptação de suspense 'His & Hers'

O suspense psicológico His & Hers ganhará uma adaptação pela Netflix protagonizada por Tessa Thompson. Saiba mais sobre o projeto:

A Netflix irá produzir uma adaptação do suspense psicológico His & Hers, protagonizado por Tessa Thompson (Creed/Thor). Baseado no livro de Alice Feeney, o projeto será uma minissérie de seis episódios. Bill Dubuque será roteirista e produtor executivo ao lado de Dee Johnson, que também atua como showrunner. Além disso, o primeiro episódio contará com direção de William Oldroyd. Além de…

[keystonewarrior]

The Accountant

Gavin O'Connor and Bill Dubuque and all the cast a crew did a really nice job on that film.

Hooah

[neweagleinsurancesblog]

How Insurance Is Importance 

In this article we are going to see how opting for insurances for various aspects of life is extremely important. This article is dedicated to help you understand and learn about some of the most important facets and benefits of insurance. It is going to help you learn about the importance of insurance so that you can take informed decisions. If you are looking for insurance in Dubuque, consider New Eagle Insurance.

One of the core benefits of insurance is that it covers for losses, and payments and bills behind losses. Insurance enables the payment of losses. An insurance can be defined as a contract between in individual or organization and insurance policy provider or insurance protection provider, in which the former is indemnified for the coverage of losses by the latter, under the conditions stated in the policy, which is the contracted.

You can manage uncertainty of cash flow with the help of insurance and this is another major benefit of insurance for individuals and organisations. If there is an unprecedented loss on part of the beneficiary of the policy, and if that specific nature of loss is covered in the insurance, the insurance company shall reimburse for the loss. Accidents and losses are unprecedented and does not come knocking on the door. Insurance is need for situations such as the same.

Insurance can also augment risk control activities. Sometimes, an insurance policy also provides adequate loss-control mechanism which meets the requirements of the policy. Insurance can help cope with legal requirements. Insurance can also satisfy statutory requirements in certain situations and help provide financial support in times of distress.

[allseasonshc]

Water Heater Maintenance from Experienced Professionals

Maintaining the effectiveness and lifespan of your home's hot water system requires regular maintenance from expert professionals. Cleaning the tank to get rid of silt accumulation, checking for leaks or loose connections, and looking for rust on the anode rod are commonly performed maintenance procedures.

These are some advantages of routine Water Heater Maintenance in Dubuque.

Increase the appliance's longevity

Sediment buildup in the tank might decrease its effectiveness over time and perhaps result in damage. These problems can be avoided with routine tank cleaning and flushing, which will save you money on needless replacements.

Energy-efficient An energy-efficient water heater requires regular maintenance. It consumes less energy and boils water faster, saving you money on utility bills. An efficient water heater is especially necessary for comfort and economy during Dubuque's harsh winters.

Safety Water heaters that are neglected may experience problems like rust or leakage, which could be hazardous. By identifying and resolving these issues early on, routine maintenance helps protect your family's safety.

Improve water quality By stopping dangerous bacteria from growing, maintenance can raise the quality of the water.

Frequent Water Heater Maintenance in Dubuque increases the longevity of your machine and helps prevent accidental malfunctions. Expert professionals are capable of handling all aspects of water heater maintenance. They are skilled in seeing any problems and fixing them before they become more serious and require expensive repairs.

Conclusion Make sure your water heater is operating smoothly and efficiently by getting in touch with All Seasons Heating & Cooling. Their specialists will collaborate with you to deliver the premium water heater that you are entitled to for your residence or place of business.

[somebaconlover]

Ozark (2017-2022)

Created by Bill Dubuque and Mark Williams

Cinematography by Ben Kutchins

Starring Jason Bateman, Laura Linney, Julia Garner, Janet McTeer and Tom Pelphrey

"Money is not peace of mind. Money is not happiness. Money is, at its essence, that measure of a man’s choices."

[readingsrantsrambles]

Devil In The Details - Season 3 of Ozark

by Valentina Valentini / Photos by Steve Dietl / Framegrabs Courtesy of Netflix

International Cinematographer's Guild Magazine - October 4, 2022

Season 3 of Netflix’s rural family drug saga, Ozark, hits new visual highs (and dark narrative lows). 

When Marty Byrde (Jason Bateman) walks into an office full of large glass windows, he’s the guy who will note the windows are south-facing, and the cooling bill will be about fifteen percent higher in summer. That same attention to detail is also what drives the behind-the-scenes team of Netflix’s Emmy-winning crime drama, Ozark, now streaming its third (and many would say its most visually ambitious) season. The series was created by Bill Dubuque and Mark Williams, executive produced by showrunner/writer Chris Mundy, with star Bateman also serving as an executive producer and director for nearly one-third of all shows produced so far. Season 1’s final episode earned Bateman his first directing Emmy nomination, along with a nomination for Local 600 Director of Photography Ben Kutchins, who has shot roughly half of all three seasons. Bateman went on to win an Emmy for the opening episode of Season 2, which Kutchins also shot. Guild Director of Photography Armando Salas came aboard in Season 2 to split the schedule with Kutchins. For this most current season, Kutchins shot Episodes 1, 2, and 6 while Salas shot 3, 4, and 7 through 10. (Manuel Billeter shot Episode 5.)

“There are so many things that have to go right for anything to be good,” observes Executive Producer/Writer Chris Mundy. “So, the attention paid to detail is everything. And that’s the beauty of being able to have two DP’s – one is always shooting, and one is always prepping. That’s a godsend for the director in prep, to have their DP fully [there with them] the whole time so they know exactly what the other one is thinking. I think it’s helped the show, and both of [our] guys are so good [at it].”

From inception (Pepe Avila del Pino shot the pilot and Episode 2 of Season 1), Ozark has been a narratively (and visually) dark series. That means even the ostensibly “fun” moments – teenagers hanging out at a lake on a sunny summer day; wine and terrycloth bathrobes at a cozy bed and breakfast; winning the jackpot at a casino – are laced with violence and fear. “You know those joyful scenes in a thriller or horror movie, right before the hammer comes down, that trick the audience?” Kutchins posits. “Well, Ozark is a completely different meditation. It’s always bleak for our characters. We don’t allow them those joyful moments; it just goes from bad to worse.”

Though the tone in Season 3 is consistent with what came before, the creative team believed a slightly softer feel was appropriate for the story’s evolution. That was also a practical decision, since the darkness of the show wasn’t translating to all viewing platforms. “You can’t assume or depend on pristine viewing conditions when you’re [filming a show] for a streaming service,” Bateman offers. “People are watching at home, sometimes during the day, and there’s ambient light. We always try to play on the edge of just the right amount of exposure and contrast.”

Kutchins (who came on right after the pilot) and Bateman wanted to create a world that was harsh and uninhabitable, despite its idyllic location on Lake Ozark – doubled by Georgia’s Lakes Lanier and Allatoona. The goal has always been to show darkness as a feeling of imminent threat; to do that photographically, Kutchins used the negative and positive parts of the image to create enough shadow to allow the audience’s minds to wander into what’s coming next without knowing what exactly that is – only that it’s bad.

“I light the characters just enough to read their expressions,” Kutchins describes, “with enough light on the walls behind to create some separation. Ozark has been very much about controlling the amount of information we reveal in any given image.”

While that approach was repeated in Season 3, Kutchins and Salas knew they had to evolve the look with the Byrdes’ progression. They’re doing business at the state-government level; there are new characters, like a sly forensic FBI agent, Wendy’s bipolar brother, and a spoiled son of a Mafia boss, and they’ve opened a bustling new casino, The Missouri Belle, a massive addition to the few sets the show used at Eagle Rock Studios Atlanta. (Most of the show has been shot on location in Georgia, doubling for the Ozarks.)

Bomba, whose previous credits include the Sundance indie hit Mudbound(shot by Oscar nominee Rachel Morrison, ASC) and the Oscar-winning feature Walk the Line (shot by Phedon Papamichael, ASC), markedly expanded the show’s color palette. The designer took research trips to Rising Star Casino and Resort near Lawrenceburg, IN, and the Lady Luck Casino in Caruthersville, MO, before landing on a New Orleans riverboat theme with red and gold interiors. Having grown up in NOLA, Bomba expanded on what was familiar, modeling Marty’s office, the casino entrance, and The Marquette bar (the land-based parts of the casino) on older structures in the now-gentrified Warehouse District and the Napoleon House in the French Quarter.

He describes the Missouri Belle riverboat casino as fashioned after the paddle steamers that traveled up and down the Mississippi River in the 19th century. “Think Mark Twain, Victorian embellishments, opulent grandeur, elegant detailing, and warm light sourced by what would have been gas or oil-flamed fixtures,” Bomba reveals. “Jason suggested an overall red and gold scheme to contrast any other set piece that had been established in the series, so I ran with it. I was thrilled to expand the palette of the show.”

Salas says Bateman has always been intimately involved in the evolution of the show’s look. “The casino was going to have a very different feel from the majority of what we’d done before,” he adds. “ [We wanted] the casino floor [to feel] engulfing and sophisticated, like you could really be sucked into gambling all your money away. It needed to be a relief from the oppressive and cool [blue] world that we so often see.”

Kutchins and Salas wanted a wealth of practical lighting units in the casino set, and Bomba obliged, with a central gaming pit area and its ceiling coffers comprised of exposed carnival-like bulbs. Bomba also wanted antique brass chandeliers, sconces, and pendant fixtures – created by decorator Kim Leoleis and her team – both in the casino and the bar and entrance areas. Both Kutchins and Salas wanted more light, specifically additional softer, indirect sources as well as accent lights for the gaming tables in the central pit area. In the end, ninety percent of the casino was lit by practicals incorporated into the design.

Season 3’s new tribulations for the Byrde family required Kutchins and Salas to dive ever deeper into the narrative rabbit hole, with full-frame capture and a shallow depth of field proving the best visual track. “Shooting full-frame brings the characters forward in the image,” describes Kutchins, who (at the suggestion of A-camera/Steadicam operator Ben Semanoff, SOC) switched, in Season 3, from the 4K Panasonic VariCam to the 5.7K Sony VENICE. “It’s almost equal to old VistaVision film, where you have these wide landscape shots, yet there is character in it, too,” Kutchins notes. “It manages to be both, simultaneously, and the characters come right into living rooms.”

The Sony VENICE offered Ozark’s directors of photography a much larger capture sensor, but in a small, lightweight body. Semanoff, who also has directed two episodes of Ozark, says he had used VENICE as A-camera/Steadicam operator on the Peter Berg feature Spencer Confidential (shot by Tobias Schliessler, ASC) and loved the form factor along with the Rialto attachment, which allows users to pull off the front block of the camera, essentially making it just a small housing for the sensor that is tethered via a fiber umbilical cable back to the main body to record the data.

“[Guild Director of Photography] Igor Martinovic and I pushed to use VENICE on [the HBO limited series The Outsider] with [actor/director] Jason Bateman,” Semanoff recounts. “I was a huge fan, as it has a great form factor for Steadicam and would facilitate the different locations we were looking at for Season 3 [of Ozark] – on the water, in the woods – some very remote areas. Although the ARRI LF was high on everyone’s list for image quality and color rendition [the ARRI LF Mini was not yet available], the VENICE met a wider range of our concerns.” First AC Liam Sinnott adds that the Rialto accessory “made it possible to put the camera in a multitude of positions you would not be able to achieve with a regular-sized body, even one as small as a RED or ALEXA Mini.”

“Ben and Armando are constantly trying to push the look of the show,” Sinnott adds, “be it through shot design, exposure, or depth of field. A lot of the conversations concerning the use of the Noctilux revolved around isolating the characters. They wanted scenes with a single actor in wide shots to separate from the foreground and background and be the only element in focus within the frame. With scenes involving multiple characters, they wanted the ability to detach story beats and use the focus as a storytelling tool.” Kutchins adds that “as the Byrdes further isolate themselves from each other, we wanted to use this lack of depth of field to isolate them visually from one another.”

Salas cites an example from the opening moments of Episode 4 when Marty, having been kidnapped by the drug lord Navarro (Felix Solis) to Mexico, awakens in a dark cell. Shot in a series of three set-ups, “the camera is very close to [Bateman], experiencing the same disorientation that Marty is feeling,” Salas explains. “The background is all abstract shapes and textures, and as Marty gets his bearings, so does the viewer.”

The VENICE and Leica lens package dynamically alter Ozark’s visual landscape in Season 3. But those weren’t even, perhaps, the biggest changes to the look of the series. Before Season 2, Netflix changed its release delivery to require Dolby Vision, with new home displays now mostly being HDR-equipped, and even tablets and other smaller display devices becoming HDR compliant. That meant the show had to be versioned (mastered) in HDR, with many legacy [SDR] viewers seeing the end product in HDR generated by a computational analysis within the Dolby Vision process.

Salas had gone on to shoot another Netflix show, Raising Dion, and immediately implemented an HDR workflow to view both HDR and SDR simultaneously on set. When it came time to prep Season 3 of Ozark, Salas tweaked his Raising Dion workflow for Ozark. He and Kutchins flew to Atlanta for a camera and workflow test, and, based on that, Stipan created their HDR LUT for on-set viewing.

“I made a global trim that matched the HDR as close as I could get,” Stipan recounts, “and then I went through the SDR episode to make sure it looked as good as it could be, and nothing bumped me in terms of highlights and shadows.”

Kutchins and Salas were then able to check both SDR and HDR versions whenever they were dealing with high-contrast situations, i.e., windows, backings, and practicals on set. Their digital imaging cart consisted of two Canon V2411 HDR monitors fed by an AJA FS-HDR rack, which held the show LUT’s and simultaneously fed an SDR version downstream to Video Village, which approximated the Dolby Vision down-convert.

Semanoff, who describes Ozark as the “highlight” of his career, says he has been “spoiled for life” by Jason Bateman’s trust and partnership. “Over the several productions Jason has brought me onto, he’s always treated me like a collaborator,” Semanoff says. “On Ozark, in particular, he has encouraged me to help set and maintain an aesthetic for the way the camera moves, or doesn’t move. Beyond which he entrusted me with directing two episodes, which is a special experience. Besides the amazing cast and crew, [Bateman] and [Chris] Mundy encourage directors to approach their episode[s] with a freedom more indicative of a feature film. It’s liberating!”

For his part, Kutchins says he’s “so pleased” the dark drama has found such a huge audience. “My Ozark experience simply wouldn’t be the same without the amazing team of people who came together to make the show,” Kutchins concludes. “Everyone is operating at such a high level that we all feel inspired to do our best work. [Viewers| would never know it from [Ozark’s] serious tone, but this show is fun to shoot! Behind every intense scene is a crew that is having the time of their lives.”

Ozark (Season Three)

Directors of Photography: Ben Kutchins, Armando Salas

A-Camera Operator: Ben Semanoff, SOC

A-Camera 1st AC: Liam Sinnott

A-Camera 2nd AC: Kate Roberson

B-Camera Operators: Greg Faysash, SOC, Christopher Glasgow, SOC

B-Camera 1st AC: Cristian Trova

B-Camera 2nd AC: Johnny “Utah” Hoffler

Digital Loader: Taylor Seaman

Digital Utility: Walker Markey

Still Photographers: Steve Dietl, Guy D’Alema, Jessica Miglio, SMPSP, Tina Rowden

[tittamoves]

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[boardchairman-blog]

**Shots of the Episode**

Ozark (2017)

Season 4, Episode 2: “Let the Great World Spin” (2022) Director: Andrew Bernstein Cinematographer: Shawn Kim

[vintagewarhol]