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‘I Love You Daddy’ and the Nostalgic Beauty of B&W

"He advised me to watch a batch of older films, with a particular emphasis on some of Hitchcock's works."

Cinematographer Paul Koestner has reteamed with writer/director/editor Louis C.K. for

I Love You Daddy

, a new comedy shot on black-and-white 35mm film. “Louie, as I’ve often pointed out, is a self-taught filmmaker and he knows his craft,”

Koestner tells Chris O’Falt


I Love You, Daddy,

says Cameron Bailey


“shows C.K. to be quite a cinephile. In an old-school stroke, he shot the film on 35mm, but not just any 35mm. This up-to-the-minute satire was shot on rich, timeless black-and-white film, in a throwback to the classics that inspired it. We don’t see this kind of movie anymore.”

“Being something of an intuitive filmmaker, Louie traditionally has little to say to me about stylistic choices beforehand,”

Koestner continues

. “In this case, however, he advised me to watch a batch of older films, with a particular emphasis on some of Hitchcock’s works. There’s no need for me to add to the general knowledge about the way cinematographers did things back then, but I will say that Louie certainly didn’t lock himself into any particular mode of operation.

“While we did choose to employ many techniques used either out of preference or necessity in the ‘old days,’ he didn’t seem philosophically averse to breaking the rules to get the desired effect, or the job done.” To read about the film’s cinematography,

click here


I Love You Daddy DP on Shooting B&W 35mm, Hitchcock’s Influence on the Secret Movie, and the Discerning Eye of Louis C.K.

I Love You, Daddy First Look: Louis C.K. Shot A Secret Black-And-White Indie Movie on 35mm

Why Louis C.K. Wants His “Secret” Film to Play on the Big Screen

Louis C.K.’s

I Love You, Daddy

Will Remind Audiences of Woody Allen