Unveiling the Untold Secrets: How Director Paul Cameron Transformed Special Ops: Lioness in Collaboration with Taylor Sheridan

Special Ops: Lioness is a thrilling new spy series that draws inspiration from a real-life CIA program. As part of Taylor Sheridan's diverse collection of TV shows, this particular series brings viewers into a different corner of the world as it delves into the United States' war on terror. With a star-studded ensemble cast consisting of Zoe Saldana, Nicole Kidman, Morgan Freeman, and Michael Kelly, the show was filmed in Baltimore, Mallorca, and Marrakech.

One of the key figures responsible for maintaining the series' distinctive visual style is Paul Cameron, the cinematographer and director of Special Ops: Lioness. Throughout the entire series, Cameron lent his expertise as a cinematographer, while also taking the helm as a director for multiple episodes. Despite Taylor Sheridan's absence from the production set, Cameron remained dedicated to bringing Sheridan's vision to life. His involvement in the highly acclaimed series, Westworld, further solidifies Cameron's seasoned experience in creating breathtaking visuals and directing episodes, even in the show's final season.

Paul Cameron on Special Ops: Lioness

Screen Rant: This era of American history has been explored quite a bit in film and TV. Was there something specific about this project that felt particularly exciting to you?

Paul Cameron: When John Hillcoat contacted me to work as a cinematographer on the project, I inquired about the other directors and discovered that they had not been finalized. After discussing this with Taylor, we decided to take on the task.

Initially, we only had a limited number of scripts. However, upon reviewing them and having conversations with John and Taylor, I found myself drawn to the idea of delving into this female-centric world. While it may deviate slightly from Taylor's usual style, it prominently features Zoe, Laysla, Nicole, and Stephanie as the main characters.

In addition to the fact that this CIA unit originated from US involvement, specifically in Afghanistan, in dealing with female prisoners, it became evident that male Special Forces or soldiers faced difficulties. These challenges were particularly prominent when it came to handling Muslim female prisoners. As a result, the use of women in such situations became more prevalent. The idea behind this approach was that women had a natural talent for easily befriending other women. Consequently, they came up with a plan to involve young Special Ops women in scenarios with high-level terrorist targets. The objective was to establish connections with the targets' daughters, sisters, or any other female acquaintances as a means of tracking and/or taking action against these terrorists. In my opinion, this idea was both radical and intriguing.

Did you collaborate with military or government consultants during the production?

Paul Cameron: On many military and Special Ops projects, they establish direct partnerships with the Defense Department or former members of Special Forces. In this case, to meet the requirements of submitting scripts well in advance, they enlisted members of Taylor's security team from Texas who have a background in Special Ops, along with other advisors familiar with the specific situations depicted in the show.

Taylor is known for having a distinct vision and being actively involved in his projects. As a director or cinematographer, how much creative freedom did you have?

Paul Cameron stated that what made this project unique was that there was a previous showrunner/writer involved. Taylor, one of the writers, had written a few episodes, but they had hired a showrunner/writer to handle the rest of the episodes and oversee the overall production of the show. However, just before the show was about to start filming in Baltimore last June, Taylor and his group decided to replace the showrunner and have Taylor rewrite all the scripts. John Hillcoat, who took over as the new showrunner, contacted Paul and informed him that they needed to be in Baltimore within a week to get things started, and shooting would commence in three weeks.

When they arrived, they only had two scripts, and neither Taylor nor anyone directly related to him was serving as the showrunner. While there were some people from Taylor's team present, there was no designated showrunner. As a result, they had numerous conversations with Taylor and Michael Friedman, who works closely with Taylor on the production side of things. Essentially, they were operating as showrunners from a distance.

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In terms of freedom, there was a lot to be experienced. However, working with Taylor was an entirely different story. He had a strong emphasis on adhering to the scripts. The scripts were considered sacred; they were to be followed strictly. Although there might be some room for additional dialogue, shots, or coverage, the script remained the guiding force, akin to the Bible.

This might seem somewhat limiting, but it strangely allowed for a sense of liberation. As we delved further into the world of streaming, we discovered that there were numerous producers and, at times, several writers. The set became a hub of voices, with actors wielding considerable influence. Suddenly, there would be constant changes to scenes, lines, blocking, and practically everything. However, the challenge lay in the fact that streaming projects do not have the luxury of a longer schedule like feature films, and therefore, strict adherence to the schedule was imperative.

Working with John as a DP, I sensed that we needed to shoot the script. By the time I was directing episodes five and six, I had already made up my mind to do just that. If there were any additional lines, improvisation, or extra shots that I wanted to add to enhance the scene, I had to save them for the end rather than incorporating them into the structure.

The challenge lies in working with high-end talent like Nicole Kidman, Morgan Freeman, Zoe Saldana, Michael Kelly, Bruce McGill, and Jennifer Ehle. These actors may have questions or suggestions about their lines while performing a scene. In these situations, we would stick to shooting the lines as written, and if there was an idea or alteration, we could discuss it together or consult Taylor over the phone to decide whether it was worth addressing or allocating more time to shoot. It may seem limiting, but it actually gives us the opportunity to truly capture the writer's and showrunner's vision.

Given Morgan Freeman's extensive experience and the fact that Nicole Kidman and Zoe Saldana serve as executive producers, were there numerous instances when they actively contributed ideas?

Paul Cameron: During the filming process, there is a natural inclination to explore different directions and improvisations. This often happened with Zoe, where we allowed her to experiment and then regrouped to guide her towards the intended purpose of the scene or dialogue. There were times when we even considered contacting Taylor to discuss potential changes, although in the majority of cases, we stuck to the script.

With Nicole, it was different. She approached her role in a more introspective manner, focusing on the lines, their meaning, and the dynamics between the characters. She would frequently question certain lines and their intentions, prompting us to collectively analyze and interpret them from various perspectives. Sometimes, we discussed these concerns with Taylor, but I cannot recall any instances where we actually modified the dialogue.

Morgan is an exceptional individual and actor who thoroughly enjoys collaborating with directors and brainstorming ideas. Once he finds his rhythm, he becomes unstoppable, like a racehorse. He is truly captivating to observe.

Mike Kelly possesses the same qualities. Along with Jennifer Ehle, they are both highly skilled professionals who approach their craft with meticulous preparation. Despite the extensive amount of dialogue in this particular case, they were extremely cooperative and willing to repeat scenes as many times as necessary to achieve the desired performance and capture the reverse shots. Working with them was an absolute delight.

Do you prefer directing projects that you also work on as a cinematographer, considering your relationship with both aspects? Does it make the process easier for you?

Paul Cameron: Throughout my years as a cinematographer, I've had collaborations with directors who relied on me to handle various aspects, such as blocking and shot choices, while they focused on the performances. Additionally, there are specific directors like Tony Scott or Michael Mann who have a strong vision for camera placement and scene capture. Drawing from my experience as a cinematographer, I actively participate in location scouting, contemplating the best natural light and envisioning the scene unfolding.

In my mind, I always break it down, understanding that the streaming side of things often has a busy schedule. This means there's not always the luxury of a feature schedule, even though I have to work with actors who may want to experiment with different approaches. I have a knack for guiding actors and helping them block out scenes in a way that suits them aesthetically and visually.

Regarding my working relationship with directors of photography, I am highly particular. I am very willing to visit locations with the director of photography and explore different ideas. By the time we reach the technical scout, we have a clear plan in place, letting everyone involved know how we will shoot the scene. Of course, if changes need to be made, we adapt accordingly, but we always start with a specific plan. I am especially meticulous when it comes to lighting. I enjoy highlighting the features on actors' faces, creating subtle reflections in their eyes when necessary, and ensuring that there is something interesting in the background. Additionally, I prioritize achieving a balanced fall-off and focus. This attention to detail stems from my years of experience as a cinematographer.

As a director, do you find it more challenging to handle action-packed scenes instead of static ones? In the first episode I shot for John, there are some impressive action sequences, some of which I directed and shot myself, along with the second unit in Morocco. Since shooting action is something I'm experienced in, I can easily envision and shape it. For example, if there's an explosion, I know how big it should be, or the exact number of people needed for a scene, rather than having an excessive crowd. I also understand the importance of not overwhelming the screen with too much unnecessary content. This is an area I excel in.

When it comes to directing, I excel in enhancing the impact of action sequences by strategizing the use of specific lenses and utilizing project resources efficiently. It is crucial to collaborate with the Assistant Director (AD) to manage time effectively and avoid any unnecessary delays.

I understand that you had a significant involvement in Westworld. It must have come as a surprise when you learned that the show would not be continuing after season 4. Did you notice any hints or indications during your time working on the show, such as the on-set atmosphere or conversations, that suggested its imminent end?

Working on Westworld was an incredible experience for me as I had the opportunity to collaborate with Jonathan Nolan and Lisa Joy in the development of the show's world. I also had a similar experience on Lioness with John Hillcoat and Taylor, where we were able to visualize the entire show and plan its potential arc for multiple seasons.

However, it was somewhat surprising that Westworld didn't go on for another season. During the writing of the scripts for season four, the creators were aware of the possibility that the show might not continue. It's impressive that they managed to keep the cast together for so many years and film with such high-caliber actors, but it was undoubtedly challenging. I believe that everyone involved wanted one more season to complete the story, but in the world of streaming, there's always a risk that a show may not last as long as anticipated. When you're informed that a season will be the last, the challenge lies in wrapping up all the loose ends. This decision will undoubtedly leave some viewers satisfied with the choices made, while others may not be as pleased.

About Special Ops: Lioness

Based on a real US Military initiative, "Lioness" tells the story of Joe (Saldana) as she navigates the challenges of maintaining a work-life balance while working as a key operative for the CIA in the fight against terrorism. Overseen by Kaitlyn Meade (Kidman), the Lioness Program recruits a fearless Marine Raider to join Joe in undercover operations, targeting the influential figures behind state-sponsored terrorism, all in an effort to prevent another catastrophic event like 9/11. Don't miss the premiere of Special Ops: Lioness on July 23rd, exclusively on Paramount+.