Pluribus: The Official Podcast

Season 1, Episode 7 — Paul Donachie
Date: December 17, 2025
Host: Chris McCaleb (Editor, Host)
Guest: Paul Donachie (Director of Photography)

Episode Overview

This bonus episode features a one-on-one conversation between host Chris McCaleb and Director of Photography Paul Donachie, best known for his work on both Better Call Saul and Pluribus. The discussion dives deep into the art and logistics of capturing the distinctive look and feel of episode 107, including shooting complex driving sequences, challenges of on-location filming in the Canary Islands, crafting atmospheric light, and collaborating with directors old and new. Donachie shares revealing behind-the-scenes stories and invaluable wisdom about visual storytelling, teamwork, and the nuances that separate Pluribus from prior projects.

Key Discussion Points and Insights

Paul Donachie’s Early Career & Formula 1 Filming

• Formula 1 Experience:
  • Early in his career, Paul filmed Formula 1 documentaries, traveling globally and getting unique, up-close access to racetracks and famous drivers such as Ayrton Senna.
  • Noted the freedom of movement:

    “We literally would walk across the track and crazy stuff like that and go in the pit lane... got to know all the drivers.” (B, 01:54)

Shooting On Location: Canary Islands & La Palma Jungle

• Location Challenges:
  • The episode involved extensive driving sequences and montages across visually striking locations.
  • Choosing Locations: With so many great options on La Palma, a challenge was “when not to shoot.” (B, 02:57)
  • Securing the Right Car: Donachie advocated for a convertible MG to allow for more dynamic in-car shots:

    “I asked very early in prep, is any chance of having a convertible MG rather than a hard top? ... Luckily the guys came up with the convertible.” (B, 02:57)

  • Physical Challenges: Equipment had to be carried down “a little one man path” into jungle valleys, where multiple vignettes were staged in versatile, scenic spots.
  • Working with Local Crew: Praised the Spanish crew and 1st AD Rich Sickler for scheduling scenes in sync with optimal natural light.

The Art & Science of Montages

• Montage Planning:
  • Explained the importance of maximizing coverage (“As an editor, you can’t have too much coverage.”) and working efficiently due to time constraints and changing light.
  • Collaboration with directors (like Adam Bernstein) is crucial since pre-visualizing the edit streamlines shooting:

    “Adam’s great skill is he knows what he wants before he gets there... he knows if he’s got the shot.” (B, 07:54)

“The Church Scene” & Working with Natural Light

• Quick Thinking with Light:
  • A memorable church scene was captured in just five minutes to take advantage of perfect natural sunlight:

    “I said to him, Adam, you’ve got five minutes to shoot this scene... He rose to the challenge, said, ‘Great, I love that idea. Let’s just shoot it.’” (B, 07:54)

Signature Visuals & Technical Achievements

• Iconic Shots:
  • Behind the scenes on the “Well of Souls” shot in episode 105—shot with a long 400mm lens, timed to avoid the crane shadow.
  • Shared the “I Am Cuba” long take for the hospital exodus, which required meticulous rehearsal and precise timing with the rising sun:

    “You’ve got to shoot this by 8am because otherwise you’ll have a crane shadow... We got it in time.” (B, 09:48)

Transition from Better Call Saul: Visual Approach & Tone

• Differentiating Pluribus:
  • Emphasized creating a softer, more observational look in Carol’s house—softer light, closed curtains during the day to convey isolation, often shooting “from other rooms into other rooms.”

    “The interiors of Carol’s house, I kind of wanted that to be a very low key, soft light environment during the day... as if the others are always watching her.” (B, 11:09)

  • Collaborated closely on custom LUTs (look-up tables) with the team to craft the show’s unique color palette.

The Color Grading Process & Storytelling by Lighting

• Working with Colorist Dave Cole:
  • Paul describes the detailed “grading session,” fine-tuning every shot for story-driven visual choices:

    “You can make an area of a room look a bit darker or brighter or bring up a face... but the base has to be there.” (B, 13:00)

  • Lighting is always in service of story, not just aesthetics.

Collaboration with Directors—Veterans & First-Timers

• Supporting Directors:
  • Paul’s role with new directors (like Rhea Seehorn’s directorial debut on Better Call Saul) is to “help them make the film they want.”

    “My first premise is that you’re there to help that director make a film for them. It’s their film.” (B, 15:08)

  • Offers technical support, guidance on coverage, and constructive negotiation when schedule constraints arise.

Memorable Moment: Rooftop Dinner Scene

• Golden Hour Mastery:
  • The solo dinner scene atop Hotel Chaco was scheduled to capture dusk, with strategic lighting to retain the mountains in frame.

    “We should get our first couple of wider shots during the golden hour, you know, the dust period, when we could see the mountains.” (B, 16:38)

Philosophy: The Value of Preparation

• Prep is Everything:
  • For Donachie, success is rooted in preparation:

    “For me, it’s 95% prep... before you turn up, you know exactly what you’re going to do, and how you’re going to do it.” (B, 18:13)

  • Flexibility and experience underpin his ability to adapt during the shoot.

Negotiating Shot Lists & Time Constraints

• Never Say “No” to a Director:
  • Instead, guide and collaborate to maximize creative outcomes within practical boundaries:

    “Say no to a director is not a great idea... you guide them in other directions... it’s a negotiation process.” (B, 18:57)

Notable Quotes & Memorable Moments

• On adapting to light and location:

  “The hardest challenge on this, this episode really was when not to shoot.” (B, 02:57)

• On working efficiently with the perfect light:

  “You’ve got five minutes to shoot this scene... Adam, you can do it... And we shot it.” (B, 07:54)

• On collaborating and supporting new directors:

  “My first premise is that you’re there to help that director make a film for them.” (B, 15:08)

• On the importance of preparation:

  “For me, it’s 95% prep... you know exactly what you’re going to do.” (B, 18:13)

Timestamps for Important Segments

• [00:56] Paul Donachie’s background and work on Formula 1 films
• [02:27] Logistics and challenges of shooting car montages in the Canary Islands
• [04:09] Jungle location challenges and coordination with the crew
• [07:06] The process of filming montages and working efficiently with directors
• [07:54] Capturing the church scene in five minutes using perfect daylight
• [09:48] Story behind the “I Am Cuba” hospital exodus shot
• [11:09] Artistic differences between Pluribus and Better Call Saul
• [13:00] Collaboration with Dave Cole on color grading
• [15:08] Supporting first-time directors and fostering creative collaboration
• [16:38] Rooftop dinner scene: capturing golden hour and strategic lighting
• [18:13] The significance of thorough preparation for successful filming

Tone & Style

The conversation is warm, collegial, and filled with professional respect. Paul is modest, practical, and quietly passionate about the details and teamwork needed to achieve cinematic results, while Chris is enthusiastic, appreciative, and probing, always connecting the behind-the-scenes process to what ultimately appears on screen.

For Listeners

This episode provides a deep, personable, and revealing look into the craft of television cinematography, filled with practical insights and storytelling wisdom for aspiring filmmakers—and fans yearning for the real stories behind the show’s unforgettable visuals.