Go Creative Show is a place for revealing and informative interviews with A-list filmmakers. Hosted by Producer and Director Ben Consoli, each week we feature cinematographers, production designers, directors and producers to share behind the scenes experiences from the hottest movies and shows. Whether you're a brand new filmmaker or a film industry veteran, Go Creative Show will entertain, inform and make you a better filmmaker.
Cinematographer Jason McCormick shares how he crafted the visual language for the FX series "Love Story," discussing instinct, collaboration, and adapting to romance after darker projects.
19 Feb 2026TRANSCRIPT
Good Luck, Have Fun, Don't Die Cinematography with James Whitaker
In this episode of the Go Creative Show, cinematographer James Whitaker discusses his work on the film 'Good Luck, Have Fun, Don't Die,' directed by Gore Verbinski. The conversation covers the film's unique genre-bending narrative, the challenges of cinematography within a limited budget and timeframe, and the creative decisions that shaped its visual style. Whitaker shares insights on lighting techniques, camera choices, and the importance of collaboration in filmmaking. He also expresses concerns about the impact of AI on the creative industry, reflecting on the balance between technology and human artistry.
Takeaways
The film's title reflects a parental warning about technology.
AI poses real challenges that society must address.
Working with Gore Verbinski is both fun and creatively fulfilling.
Genre-bending films allow for unique storytelling opportunities.
Realism in cinematography enhances audience engagement.
Budget constraints require innovative solutions in filmmaking.
Lighting plays a crucial role in conveying emotional depth.
Collaboration with the crew is essential for success.
Imperfection in filmmaking can serve the story.
AI's impact on creative jobs is a growing concern.
Follow our Guest
https://www.instagram.com/jameswhitaker_dop/
Follow our Host
https://www.instagram.com/benconsoli/
10 Feb 2026TRANSCRIPT
What Puppetry Teaches Filmmakers with Andrew G Cooper
What can puppetry teach filmmakers about acting, storytelling, and cinematography?
In this episode of The Go Creative Show, host Ben Consoli sits down with puppeteer and filmmaker Andrew G. Cooper (Fraggle Rock) to break down the filmmaking discipline behind puppetry—and why it might be one of the most underrated tools for learning visual storytelling.
Andrew shares how puppets demand clarity in performance, intentional framing, and disciplined direction, offering lessons that translate directly to working with actors and cameras. They explore in-camera effects, the resurgence of practical filmmaking, and how creative constraints often lead to stronger storytelling. Andrew also dives into his experience working on large-scale productions and how puppetry informs his work as a writer and director, including a feature film currently in development.
Whether you're a cinematographer, director, or storyteller, this conversation will change how you think about performance on screen.
TAKEAWAYS
Andrew G. Cooper's journey into puppeteering began with his mother's local puppet TV show.
The transition from theater to film puppetry involves understanding the frame and camera techniques.
Bringing life to puppets involves weight, breath, and focus.
Puppeteers are often actors and directors, integrating their skills into performances.
The resurgence of practical effects is driven by a desire for tangible, real experiences in media.
Constraints in puppetry can lead to creative solutions and improvisation on set.
Andrew's experience on Fraggle Rock was a significant leap from theater to television production.
Training and passion are essential for aspiring puppeteers and filmmakers.
The collaborative nature of film production allows for puppeteers to contribute creatively.
Andrew is developing a feature film that explores cosmic horror with puppetry.
LINKS
www.andrewgcooper.com
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Inside a recent episode
Cinematography of Love Story with Jason McCormick
Published 11 Mar 2026 · Transcript excerpt
[…] I love hearing that. And that's actually kind of an interesting perspective. Because I wasn't thinking about, I wasn't thinking about the L .A. industry being maybe in a bubble when the explosion of the series came in. Because you're right. It's like, there's always been TV shows. There's always been movies. So you're thinking like, well, you know, the viewing habits haven't changed. The networks are still making shows into, in movies. But then you're thinking, well, actually, it's not just CBS NBC ABC. Now there's like everyone is doing series. So there was a bit of an explosion. And maybe it did create a bubble. […]
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