Arriving two years after the successful first season of The Terminal List, the prequel series The Terminal List: Dark Wolf trades the more straightforward revenge structure of James Reece’s story for a trip into the shadowy underworld of covert ops and moral ambiguity with Ben Edwards. This darker, grittier corner of the story in turn called for a visual language that was complementary but distinct from the earlier adventure.
From the logistics of operating around the series’ gunplay to crafting elaborate, show-stopping oners, Camera Operator spoke with Kenny Niernberg, SOC, series A camera and Steadicam operator, to find out what went into finding the unique look of Dark Wolf separate from The Terminal List.
Years before the events of The Terminal List, we meet Ben Edwards as a member of SEAL Team 5, fighting ISIS in Iraq. When a mission goes awry and Edwards executes a high-value target, he is drummed out of Navy, only to land on the radar of CIA spymaster Jed Haverford. Tantalized by the promise of a path back to his former station and a chance for revenge, Edwards accepts Haverford’s offer, but in this world of spies and double agents, nothing is as it seems and morality is no longer a simple question of good guys and bad guys. The Terminal List: Dark Wolf is created by Jack Carr and David DiGilio, and based on the novel by Carr. It stars Taylor Kitsch, Tom Hopper, and Chris Pratt.
Read the interview here on SOC.org
David Daut 