Podcast Summary: All Of It – Cinematographer Autumn Durald Arkapaw on Capturing "Sinners"

Host: Alison Stewart (WNYC)
Guest: Autumn Durald Arkapaw
Date: February 24, 2026

Overview

This episode of "All Of It" showcases acclaimed cinematographer Autumn Durald Arkapaw, the Oscar-nominated Director of Photography for the film "Sinners." The conversation dives into Arkapaw's pathbreaking work—she's the first woman of color nominated in the category—spotlighting her collaboration with director Ryan Coogler, pioneering visual techniques, and the film's cultural resonance. Arkapaw provides a rare, behind-the-camera perspective on cinematic craft, representation, and the emotional artistry of image-making.

Key Discussion Points & Insights

1. Initial Reaction to "Sinners" and Collaborative Process

• How Arkapaw Got the Script

  • Ryan Coogler sent her the script while she was preparing for another film ("The Last Showgirl") and she was blown away by its quality.

    "Obviously you can imagine if you didn't know what you were about to read and you read something like that...my mind kind of blew up and I was like, damn, this is very good. Where did this come from?"
    — Autumn, 01:22

• Long Email Exchange

  • She responded to Coogler with a long, honest email about her reactions and creative thoughts for the project.

    "...It's a very honest, genuine reaction, to be honest, because this is my friend as well...these are the things that popped out for me."
    — Autumn, 02:43

2. Visual Choices & Use of Large Formats

• IMAX and Ultra Panavision 70 Explained

  • Arkapaw details shooting "Sinners" on 65mm film using both IMAX (vertically for taller, more immersive shots) and Ultra Panavision 70 (widescreen).
  • IMAX is loud—not sync-sound—so dialogue scenes required post-production ADR.

    "It's the first time any movie's ever combined the two together...Ryan made a decision to shoot some dialogue heavy scenes with IMAX. So you're doing ADR after the fact...but it makes for a better, beautiful scene."
    — Autumn, 06:49 & 08:16

• The Church and Farmhouse Scenes

  • The church scene (now the film’s opening) is her favorite for its emotional resonance and the collaboration with production designer Hannah Beechler and actors.

  • The farmhouse scene grabbed her on first read; it was shifted from Ultra Panavision to IMAX in a crucial creative decision.

    "It was just a very emotional scene, emotional day...I felt like I was at church. So special."
    — Autumn, 04:16

    "By the way, that scene wasn't supposed to be shot in IMAX originally...So it's nice to hear it's your favorite because it looks like that."
    — Autumn, 03:27

• Challenges of Dual Format

  • Combining aspect ratios and logistics (prep, storyboarding, camera crew) demanded meticulous planning and teamwork.

    "Everybody has to be...collaborating at the highest level...the format itself requires patience and respect, for sure."
    — Autumn, 09:29

3. Filming Under Real Conditions & Authenticity

• Shooting in the South
  • Wide, hot, sunlit locations (e.g., cotton/cane fields) required authenticity; actors performed on real location with process cars, with cotton often added in post.

    "That's important to me is to make sure that the driving stuff is for real. Because I hate driving stuff. When they're pretending to drive on a stage..."
    — Autumn, 11:18

4. Lighting Black Actors with Intention & Respect

• Her Personal Approach

  • Arkapaw pushes back against over-lighting and favors bravery with exposure to honor beauty in darker skin tones, inspired by Bradford Young's pioneering work.

    "You have to be brave with your exposures. You have to understand that people can look beautiful in the shadows...there's beauty, there's different tones, there's different colors."
    — Autumn, 13:17

    "Ryan supports me in that process because someone is gonna say something's too dark, obviously. But you have to be like, trust me, I got this."
    — Autumn, 13:17

5. Technical Feats: Shooting Dual Michael B. Jordan

• Twinning Technique

  • Shooting the same actor as two characters (locked shots, moving cameras, interactions/fighting)—emphasized respecting the performance and emotional realism.

    "There's a more complex way...I want to move the camera around or I want to put on Steadicam or now Michael's maybe fighting each other, so he's touching himself...it's very tedious on set, but...at the core of all of this work, making it look real, making it look beautiful, is the performance."
    — Autumn, 15:31

    "...there's so many people now, they're like, oh, I thought he was two people. So we've done our job well."
    — Autumn, 17:23

6. Visually Emotive Sequences & Collaboration

• The Music Sequence (Rafael Saadiq’s “I Lied To You”)

  • Describes creating the emotionally pivotal, supernatural sequence—requiring logistical expertise to stitch together continuous shots due to technical film limitations.

    "He wrote it as one paragraph. It was one, like, dense paragraph in the script...He put it like, pay attention to this...It's a brave choice, right? You're reading a script and all of a sudden it takes a left turn...I like someone being brave like that."
    — Autumn, 17:47

    "At the core of it is making sure it's fluid, it feels elegant, it can work...you want to make sure it's a beautiful shot and it says something and means something..."
    — Autumn, 19:51

7. Being “The First” and Representation

• The Meaning of the Oscar Nomination
  • Discusses the responsibility and significance of being the first woman of color nominated, and inspiring others, especially young women and girls.

    "For people that look like us to go to the theater, to see themselves up there on the screen. You know, for the girls to message me and say, like, oh, now I can do this, because I see you're doing this. And that's what makes that first important..."
    — Autumn, 20:06

8. Inspirations & Photographic Roots

• Cinematographer Role Models

  • Ellen Kuras as a key inspiration—seeing a woman’s name in the credits changed her perception of possibility.

    "I couldn't find a woman's name, so I was like, oh, damn. Like, there's not many women doing this...then I looked up 'Blow,' and I found her name, and I was so excited. I was like, yes, there's a woman doing it. Great. So I can do this now."
    — Autumn, 20:57

• Photography Influences

  • Gordon Parks, Helen Levitt, Eudora Welty’s documentary work; inspired by their humanity and honesty—a sensibility she brings into her film work.

    "Gordon Parks. Yeah, I mean, it's like Helen Levitt...it was a lot of social documentary photography, to be honest, which is actually at the root of the reference Ryan gave me..."
    — Autumn, 22:04

9. Personal Moment – Oscar Nomination Day

• Where She Was
  • At home early in the morning with her husband and son, “watching the feed” as the nominations came in.

    "I was at home actually with my husband, my son. I mean, it came out, you know, we were on your time, right. Because it was 5am my time. So I had to get up early and watch it. I was just sitting there and I was watching the feed and. And then it kept happening. Right. I was like, oh, my friend, my friend. And then 16. So it was pretty cool."
    — Autumn, 22:54

Notable Quotes (with Timestamps)

• On Lighting and Representation:

  “You have to be brave with your exposures. You have to understand that people can look beautiful in the shadows…within the darkness, there's beauty, there's different tones, there's different colors.”
  — Autumn, 13:17

• On Pioneering Technique:

  “It's the first time any movie's ever combined the two together [IMAX & Ultra Panavision].”
  — Autumn, 08:16

• On Inspiring Others:

  “For the girls to message me and say, ‘like, oh, now I can do this, because I see you're doing this.’ And that's what makes that first important…”
  — Autumn, 20:06

• On a Creative Partnership:

  “When you work with a brave filmmaker, that's what—where it comes from is, is just believing in it and then it working out.”
  — Autumn, 08:34

• On Authenticity:

  “That’s important to me is to make sure that the driving stuff is for real. Because I hate driving stuff [on a stage]...”
  — Autumn, 11:18

Important Segments & Timestamps

• [01:22] — Autumn’s initial reaction to receiving the script for “Sinners”
• [03:24] — Discussion of favorite scenes (farmhouse and church)
• [06:49] — Technical breakdown: IMAX and Ultra Panavision 70
• [11:18] — Shooting in the South and achieving authenticity
• [13:17] — Her approach to lighting black actors
• [15:31] — Filming two Michael B. Jordans (“twinning”)
• [17:47] — Coordinating the pivotal supernatural/musical sequence
• [20:06] — Being "the first" woman of color nominated and its significance
• [20:57] — Cinematographic influences
• [22:54] — Her personal reaction to the Oscar nomination

Tone and Language

The conversation is collegial, insightful, and warm—balancing technical acumen with vulnerable reflections on identity, representation, and creative process. Arkapaw speaks with humility about her breakthroughs and pride in her collaborators, while Alison Stewart guides the discussion with enthusiasm and genuine appreciation for the craft.

Conclusion

This episode offers a rich, behind-the-scenes account of visual storytelling as both artistry and cultural statement. Autumn Durald Arkapaw's path to breaking cinematic boundaries is as much about community, representation, and collaboration as it is about technical brilliance—her Oscar nomination stands not only as an accolade but as a beacon for future generations.