Doug Emmett: Lighting Emmy Rossum and Anya Taylor-Joy in Furious and Lucky

Doug Emmett made Lucky in Los Angeles through the spring of 2025, took three weeks off, and went straight to New York to prep Furious with Brian Kirk, who directed the first two episodes. He got the job after an interview at 4:45 in the morning from a trailer in the desert, where Kirk told him the deck he had built was the opposite of what he had in mind. Showrunner Liz Meriwether then had the department heads rehearse their studio pitch on group Zoom calls until it ran under a minute. The color rule came from the locations. The townhouse and the FBI office hold one color temperature, while the police station, the women's shelters and the street mix warm desk lamps, mismatched lampposts and flickering fluorescents. A green tube in a kitchen ceiling became a named color, Alice Green, and returned in episode six to turn the skin tones in a shower scene strange. After testing 20 lens sets, he remembered the fireworks behind Brad Pitt in Killing Them Softly and went to Panavision G series glass modified by Dan Sasaki. In a 60th-floor penthouse walled in glass, the question was "where do the lights go when you have mirrored walls everywhere?" Most went into the ceiling.

On Lucky, for Apple, Emmett followed Yaron Orbach, who started the series, and worked with Greg Yaitanes on episodes two and three and Jonathan van Tulleken on six and seven. The references were Tony Scott's: Spy Game for the FBI offices, Man on Fire and its long lenses for an oil refinery. Flashbacks ran through a hand-cranked 35mm camera that Emmett cranked himself, rolling back to double expose, with the VENICE as his light meter. For a night drive across the desert, he ruled out big units down the road as too sourcey; after a test under a full moon, the sequence was flown on a heavy-lift drone with a VENICE and a fast Master Prime. His habit, which he traces to Harris Savides, is to "try and keep the equipment outside the room."