As a director, Parekh had to adapt to the dynamic of working with a cinematographer. Christopher Norr shot the three episodes of Succession directed by Parekh. “Chris and I became very close over those three shows,” said Parekh. “I became more and more hands-off with him. I had come to trust him. There’s always that urge to give someone your two cents. But it’s interesting to see a different read and the incredible results--to see what someone else sees as opposed to your own vision. Chris is incredibly collaborative. Everyone involved in the show has its essence at heart.

Directors of photography Christopher Norr and Pat Capone talk to interviewer Larry Sher, ASC about their work in this HBO series Succession, which depicts the impossibly wealthy lives of the Roy family as they contemplate their future once their aging patriarch begins to step back from the conglomerate they control.

Directors of photography Christopher Norr and Pat Capone talk to interviewer Larry Sher, ASC about their work in the HBO series Succession, which depicts the impossibly wealthy lives of the Roy family as they contemplate their future once their aging patriarch begins to step back from the conglomerate they control.

Filmmaking magazine featuring Lion King, Succession, Annual Product Guide and more.

When filming the Pierce dinner, to increase the severity of the atmosphere, cinematographer Christopher Norr placed the cameras far away to fully capture the vastness of the space, but used long lenses to slowly, claustrophobically close in on details.

Cinematographer Christopher Norr explains the ins and outs of the centerpiece of “Tern Haven,” as the tension between the Roys and Pierces sharpened and spilled over.

Best known for his early work on the hit romantic comedy When Harry Met Sally, the TV series Succession and most recently the award winning drama Puzzle, the cinematographer Christopher Norr talks to Mandy News about life as a director of photography and he shares his advice for aspiring cinematographers.

Points added for Chris Norr’s gorgeous cinematography and for Roshelle Berliner’s equally lovely production design.

Turtletaub, though, invests Agnes’ puzzling scenes with a spiritual fervor, as if she’s performing an act of devotion, communing with God. The director credits his cinematographer, Chris Norr, with capturing that feeling visually. - 'When we started talking about references, Norr and I talked about Ida the Pawel Pawlikowski movie, which is about a nun,' Turtletaub says.

We just hit it off beautifully. Some of the best shots in the movie came out of Chris’s imagination. I’ll work with him again and again.

Seeing it for a second time, it was interesting seeing how the camera relates to her and how the frame seems to open up to her. How did you develop the camera style?- It was largely through our cinematographer Chris Norr, who did a beautiful job. The movie is her perspective and you want to be living with her, so there are a lot of close-up shots.

Chris Norr’s cinematography makes intriguing use of glass surfaces. When Agnes gazes at her reflection in a train window, it feels as if she’s looking at a completed puzzle. - He’s a great cinematographer. I hadn’t worked with Chris before, and I will continue to work with him. I think he’s really brilliant. For that shot you mentioned, I wanted to incorporate the reflection of the moon, which is a recurring visual in the movie right from the beginning.