In this episode of Geektown Talks To, Dave chats with cinematographer, director and filmmaker Boris Mojsovski, whose work includes Netflix’s Harlan Coben thriller ‘I Will Find You’, along with ‘Rabbit Hole’, ‘12 Monkeys’, ‘Titans’, ‘The Lost Symbol’, ‘The Madness’ and more.

Boris talks about growing up around film sets, initially trying not to follow the family path into filmmaking, and how photography, writing and directing eventually pulled him back behind the camera. He also discusses the unusual position of being both a cinematographer and director on long-form television, and how that helps shape the visual identity of a series.

We then dive into ‘I Will Find You’, exploring how Boris and the creative team built the show’s tense, grounded visual language, from its prison-set opening to the wider mystery that follows. He talks about creating a “visual manifesto” for the series, the challenge of making something feel real while still delivering thriller-level drama, and why the “geography of a face” can be one of the most powerful tools in visual storytelling.

The conversation also moves into some of Boris’s other genre work, including the paranoia of ‘Rabbit Hole’, the time-travel complexity of ‘12 Monkeys’, and the superhero world of DC’s ‘Titans’. Plus, Boris teases his own upcoming film ‘Foreign Tongue’, talks about recent projects including ‘Star Trek: Starfleet Academy’ and ‘Into the Deep Blue’, and reveals the classic films he wishes he could have made himself.

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In this Geektown Talks To interview, Dave chats with cinematographer Hillary Fyfe Spera, the lead cinematographer behind both seasons one and two of Marvel’s ‘Daredevil: Born Again’.

Hillary was there from the very beginning of the Disney+ series, shooting the pilot, finale, and seven of the nine episodes in season one, helping to establish the grounded, cinematic look of Matt Murdock’s return to Hell’s Kitchen. She also returned for season two, shooting half of the episodes, including the opening two, as the story pushed further into the conflict between Daredevil, Wilson Fisk, and a city under increasing pressure.

During the interview, Hillary discusses how she first came to cinematography through still photography, and how her love of collaboration led her into film and television. She also talks about how ‘Daredevil: Born Again’ came to her, and how classic 1970s New York films such as ‘Taxi Driver’ and ‘The French Connection’ helped inform the visual direction of the series.

We also dig into the visual contrast between Matt Murdock’s world and Fisk’s world, with Daredevil and the vigilantes shot in a more handheld, human, street-level style, while Fisk’s side of the story becomes more controlled, symmetrical and oppressive. Hillary explains how those visual rules evolved across the two seasons, and how they could shift as characters moved between worlds or began to lose control.

Hillary also breaks down the show’s practical approach to Daredevil’s heightened senses, including the in-camera “sensory grande” technique, which uses multiple cameras, lenses, movement and aspect ratio changes to represent something that is not inherently visual.

There is also plenty of discussion about the action, including working with the stunt team, keeping fight scenes grounded while still making them cinematic, and why the best sequences need emotional pauses rather than just relentless punching. Hillary talks about the huge East River boat oner in season two, shot at night with drone lighting, choreography and practical location challenges, along with the series’ BB Report segments and how they changed visually as the story developed.

Plus, Hillary chats about what she is watching at the moment, her love of ‘The X-Files’, and why her dream future project would be a Western.

‘Daredevil: Born Again’ Seasons 1 and 2 are available on Disney+.

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Geektown Talks To is back, and in this episode Dave sits down with actress Joséphine Jobert to discuss her new crime drama ‘Saint-Pierre’, which recently launched in the UK on U&Alibi.

UK viewers will know Joséphine from ‘Death in Paradise’, but in ‘Saint-Pierre’ she takes on a very different kind of island detective role as Deputy Chief Geneviève “Arch” Archambault. Set on the French territory of Saint-Pierre and Miquelon, just off the coast of Newfoundland, the series follows Arch as she is partnered with Donny “Fitz” Fitzpatrick, played by Allan Hawco, after Fitz is sent to the island following trouble back home.

In the interview, Joséphine talks about why she was initially unsure about doing another police drama after ‘Death in Paradise’, what changed her mind when she read the script, and how Arch became a character who meant far more to her than she expected.

She also discusses filming on Saint-Pierre itself, swapping Guadeloupe sunshine for much colder North Atlantic weather, the chemistry between Arch and Fitz, and what it is like working opposite Allan Hawco, who is not only her co-star, but also co-creator and executive producer of the show.

Plus, Dave and Joséphine chat about the show’s success in Canada, the brutal Season 1 cliffhanger, the possibility of more ‘Saint-Pierre’, her upcoming projects, reality TV guilty pleasures, and why she would love to step into the world of Marvel.

‘Saint-Pierre’ Season 1 is airing now on U&Alibi in the UK.

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