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This provides endless possibilities for creativity. One episode flows through different rooms at a swanky New Year’s party at Drake’s house; another ventures deep into the creepy woods where real animals (not party animals) make things tense. Since the backgrounds play such an important role, can you tell me about the creation of these different ambiences. Music is pretty minimal and the only music that you hear is mainly source music — music coming from radios, cell phones or laptops. I think it’s an interesting creative choice by producers Hiro Murai and Donald Glover. In cases like the “Teddy Perkins” episode, we have to be careful with the sounds we choose because we don’t have a big score to hide behind. We have to be articulate with those ambient sounds and with the production dialogue. We wanted a quiet soundscape and for the house to feel cold and open. So, when we were crafting the sounds that most audience members will perceive as silence or quietness, we had very specific choices to make. We had to craft a few sounds for the outside world too because the house is located in a rural area. We had to be very careful in articulating our sound choices, to hold that quietness that was void of any music while also supporting the creepy, weird, tense dialogue between the two. That rumbly, oppressive air was the cold tone we were going for. It wasn’t a layer of tones; it was actually just one sound that I manipulated to be the exact frequency that I wanted for that space. There was a vastness and a claustrophobia to that space, although that sounds contradictory.

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The town leaders won't evacuate despite the ominous portents, as if they can argue fiscal deadlines with a volcano; Hamilton's kids put her and Brosnan in danger by driving themselves up the mountain to get grandma while the ash from the eruption rains down on the road, the grandma puts them all in danger by being too stubborn to at least drive down the mountain to their house. Rather than in-the-moment quick thinking of the type we see in VOLCANO, the adventure in PEAK hinges on the kind of stupidity chains by which emotional thinking, what I call 'proximal responsibility' trumps basic human survival. I can't tell you if this shit ever happens in real life. I'm sure it does, but it's lazy writing that relies on idiocy of stock types to avoid having to do some research (by, say finding out personal stories of what the survivors did and who died in the St. Helen's eruption and why, or visiting a real vulcanologist team and actually listening to the rhythm and substance of their dialogue). It certainly should have put Anne Heche in the same A-list company of Julia Roberts and Sandra Bullock if she wasn't already, but she got ground up in the hot button issues with Ellen and started being erratic. It was the time when people just didn't come out very often, so we all had a hard time digesting her straight girl romance SIX DAYS AND SEVEN NIGHTS. But this is not at all the m. . of our cool professional Anne Heche, the geologist du jour. I almost fell out of my chair with joy when I finally re-watched this movie last week and heard that line. Why is it that Heche is the only one cool enough to say that kind of shit. Stunned but invigorated after her near death experience in the subway tunnels below the street, she hangs around in the thick of the eruption all morning, day, and night, not whining for Tommy Lee Jones' attention like his idiot daughter does, but doing her job, improvising, finding the path of the lava by watching a ball liberated from a looted toy store window, making calculations, etc. Together they're able to convey, her understanding of the lava and his understanding of the city, combining into one fluid machine where urgent calamity is responded to lighting fast in ways their opposite numbers in DANTE'S never could.

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The work is solid, the work exists and will stay the same, but if you can have it playing and interacting with light, then it will always be different. It's by London-based family, portrait and music documentary photographer Sonya Jasinski, who has had her work published in Rolling Stone, Q and elsewhere, and Emmy-nominated singer-songwriter and photographer Kate York. The book has the further distinction of a foreword by Kacey Musgraves, an introduction by Emmylou Harris, a preface by Kings of Leon's Nathan Followill and an afterword by Holly Williams, the granddaughter of Hank Williams Sr. The book offers many of their most striking images of the artists, writers and producers who make up the modern-day scene in Music City USA, including photographs taken in the homes of Musgraves and Harris, backstage scenes with Lucinda Williams and Holly Williams and performance and studio images with many Nashville notables. York lives in the city, and has had numerous songs featured on the soundtrack of the hit TV series Nashville. The book is published by Insight Editions on 5 April, and more information is available here. She is the most beautiful and charismatic woman I've ever met. I'm a major fan of hers, so this was an important shoot for me, and I knew in that very frame I got the magic shot. A dream spontaneous moment whilst I was shooting her for her album, and they look like the epitome of rock 'n' roll. Just the two of us. I tried to be discreet, and the energy and buzz was flowing around him. The fashion designer turned director recently cast Bamber in his sophomore film, Nocturnal Animals, an adaptation of Austin Wright's thriller Tony and Susan. In it, a man sends his ex-wife a manuscript for a novel, and she becomes infatuated with the protagonist, Tony Hastings. Back in her native England, the buzz around Bamber is deafening.

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