The White Lotus
Immersed in a Location

A Conversation with Frank Larson, SOC; Armando Avallone, SOC & Mike White
By David Daut

In the midst of the world shutting down and people being forced to isolate during the Covid-19 pandemic, The White Lotus emerged, serving as an escapist travelogue and a sardonic glimpse into the lives of the very wealthy. Now in its third season, the anthology series continues with yet another set of characters and stories, a whole new backdrop, and a scale that far surpasses the pandemic restrictions set upon the first season. Even so, some restrictions have morphed into traditions as the cast and crew still live and work in the hotels where they’re shooting for the duration of production.

Camera Operator had a chance to sit down with A camera operator Frank Larson, SOC; B camera and Steadicam operator Armando Avallone, SOC; and series creator Mike White to talk about what made Season 3 of The White Lotus different from what has come before and which aspects of the production felt like coming home.

Season 3 of The White Lotus moves to the jungles of Thailand where we meet up with a whole new cast of characters having their own crises amidst the decadent luxury of the White Lotus resort. The White Lotus is created by Mike White and stars Leslie Bibb, Carrie Coon, Scott Glenn, Walton Goggins, Jon Gries, Sarah Catherine Hook, Jason Isaacs, Lalisa Manobal, Michelle Monaghan, Sam Nivola, Lek Patravadi, Parker Posey, Sam Rockwell, Natasha Rothwell, Patrick Swarzenegger, Tayme Thapthimthong, and Aimee Lou Wood.

Camera Operator: At this point, you’ve each been on The White Lotus for at least a couple of seasons. Mike and Frank, you’ve been there since the beginning, while Armando came on in Season 2. With each season being its own self-contained story, does every season feel like starting over fresh, or is there a sense of continuity that comes with working with a lot of the same crew?

Mike White: We’ve had different DPs, but like you said, Frank has been consistent throughout and then Armando has worked with both DPs we’ve had on the show. Even though we’ve approached each season differently, having the consistency of these guys has allowed us to remain ambitious visually about what we want to achieve with the show. You know, it’s subjective, but as far as my desire for what the show will look like, having this collaboration with these guys has been crucial to making the show look the way it does.

Frank Larson: Every season is so different. It was a huge relief to have Armando back from Season 2 to keep that going. A lot of the show is making sure every shot is just a little bit better, adding where we can. Both operators are always looking for that, and I think to have someone who’s done the show and knows the show was a huge asset. It was a huge weight off my shoulders to know he was there.

Armando Avallone: For me, it was amazing to come over in this third season, because Season 2 was set in Italy—it was in my environment, with people I already knew. It was pretty different for Season 3. It was a much bigger project for me, but seeing all the people who came back after last season was like coming back home, even if it was in Thailand this time. I know these people, so let’s make it work.

Larson: It’s funny, our little traveling circus. There was a very small group of people from Season 1 that was able to go on to Season 2, but then we picked up some people along the way on Season 2, and they came on to Season 3. Our little gang of travelers grew. It’s been so much fun to travel around and meet these new environments with a growing group of collaborators. That makes it easier, because the show is always so different, and we’re always in a new location, we’re sort of figuring out how to do it again, so to have these people come along was a big help to me. It was a comfort.

Avallone: It’s also been very different technically. Italy is my home, so for everything we shot, I know the best angles that people love to see. It was easier, in a way. Then we arrived in Thailand, and it was a completely different environment. You have to find new eyes. We’re there with a new DP, everything changed, so you need to change your way of thinking, how you see the project. 

And the second season, for me, was more aesthetically simple. In Thailand, we were much more precise on every single shot. We were trying to find perfection aesthetically speaking. But, it was nice to be in a new environment, because everything I was looking at was amazing. Every corner was beautiful, and that makes it easier in a way.

CO: Digging into that, part of the conceit of the show is that each season we are in a new location, seeing a new White Lotus hotel, and this season was all set in Thailand. Tell me more about shooting in Thailand. What were some of the challenges and benefits of shooting there?

White: For the first season—when we were in Hawaii—we had a lot of limitations. It was essentially a bottle show. It was the height of Covid, and we basically had this one hotel. It’s a hotel that had probably seen better days, and was kind of limited as far as what it was giving us visually. I was so impressed with how Frank was able to shoot it. When I pitched HBO, I said that this is going to be a real show. This isn’t going to feel like a bottle show. We want it to feel visually ambitious, and it’s supposed to be a sort of aspirational travel for audiences who are stuck at home with Covid. But our parameters were very tight, so to have somebody like Frank who was able to get this kind of textured, more epic look that we got from that first season was invaluable. I have to give credit to him. And a lot of it was the second unit stuff that he shot.

Then we went to Italy, and each season has had its own set of challenges. Armando and Frank were working with a different DP, who had a different point of view than how we’d set the show initially. So, having Frank there to have a strong opinion and have a point of view allowed us to make it feel like there was a visual integrity between the seasons. 

We’ve gotten a bigger budget, we have more resources, we have longer days to shoot; it went from a six-week shoot in Hawaii to 129 days in Thailand. That seems like it would be a cake walk, but there’s a challenge in having all that. Ben’s [Kutchins] approach on the third season was a much more painterly, exacting approach. The canvas was so huge, and it’s just hard. 129 days in those elements, it’s hard to always stay on top of it and to not feel like you’re creatively flagging. And I’m not even carrying a huge camera on my back. There are days where you’re just feeling like you’re on your heels creatively, just trying to dog paddle your way through it. So, to have these guys who are such perfectionists, wanting to get textured shots and generally having high standards, I feel like I can trust the process and know that the show is going to feel like the show, it’s going to be visually ambitious and all the things that we want it to be.

Larson: I think any fan of the show knows that nothing is what it seems, no character or even sentence has one reading. Knowing that the audience’s perception will shift and is more malleable than it might be on a typical show gives us an opportunity to play visually, to add texture, lead and mislead in a way. Season 1 and Season 2 were kind of small, so there was a lot of room to be able to do that, to play. As it got bigger, like Mike was saying, it was a little bit harder to find places to add. But I don’t know if we needed to do that for Season 3. We’re looking for the subtext, we’re looking around a character, around the sentence, and to try to do that with a camera has been one of the greatest joys of my career. When I was flying to Hawaii for Season 1,  I didn’t know Mike, I had just read this script. I was there listening to music on the plane, reading, and the feeling that I had from it ended up being the show that he made. That’s not always the case, and to be able to contribute to that was a joy, to be honest.

White: I think what’s cool about it is that the show has—or at least it hopes to have—a real sense of place. I think that’s part of the mandate; to really capture the feeling of what Sicily or Thailand is and what it feels like to be there in a kind of heightened, theatrical way. It’s fun to go to a place and feel like you have to come back with an archive of stuff that’s really going to spotlight this place, why we chose it, why we fell in love with it, and why we are telling this story here. That’s something that I don’t think is always the case in shows. This sense of capturing the visual dynamism of a place is a fun and challenging assignment. We get to go to different places each time and get inspiration from the places, and can use that to have a new approach and hopefully have fresh visual ideas.

The first season was this kind of vacation from hell, everyone’s stuck in this hotel. The second one is more like an Italian farce, so it was a little more handheld, it was a little less precious. Then this last season was kind of like this Buddhist parable meets rich people on vacation. Ben is brilliant with lighting, so there were a lot more numinous shafts of light. Then the next season is going to, hopefully, be an entirely different vibe. As somebody who likes to work, who likes to have the consistency of going back and working with the same people, but then also doesn’t want to feel like I’m repeating myself or that it’s starting to feel creatively stale, having new locations and letting the location be the assignment is part of what keeps it feeling fresh. It feels like the conversation gets more layered, as opposed to just recycled.

Larson: When you were writing Season 1, were you writing for that hotel, or do you find yourself writing for locations more as the seasons go on?

White: On the first season, I had written one episode, and then we had to start making negotiations. I went there, and I had to write while we were prepping the last couple episodes. That turned out to be very necessary, because this prep was so short. And then going forward, I didn’t really know Sicily, and I didn’t really know Thailand, so once we chose the location, I tried to write in the place and also in the hotel that we’re going to be in. I think it accelerates the prep a little bit, and also it helps the script reflect the place. I definitely get inspired by doing that. It’s a unique process, and I feel lucky that I can have those experiences and use the location to build the scripts.

CO: In terms of letting the location not just inspire the story, but also inspire the visual language, can you tell me a bit about how that process plays out? How much of that is on the page, versus finding it on set while you’re there? How do you establish the vision for what the camera is going to do throughout that particular season?

White: Honestly, I feel like I’m experienced enough to know that I’m not going to waste a ton of time writing it on the page. I realize that once we’re there—especially with guys like Armando and Frank—it’s an improvisational job. In the moment, they’re tasked with getting a scene or a shot from different angles and using what’s there. There’s obviously prep time, and I can’t speak to Armando and Frank’s conversations that they had privately with Ben about what he was hoping to get out of different locations or the general vibe. I kind of have a sense, but as a writer there’s are some things where you want to emphasize, like the time of day, or you want to emphasize some visual template or motif that you’re trying to work your way into the show. But in general, what I think makes an incredible operator is someone who can just be on the set and find the interesting shot. And these guys are that. Ben and I leaned on them heavily to know what’s the cool shot here.

And that’s the fun of making stuff, it’s getting a conversation going. It goes back to trust. After a while, you learn someone’s aesthetic point of view and what their eye is. Over time you see the results, and you start to trust it. It doesn’t mean that every time you’re going to agree on the shot. There’s certain things where, for storytelling, sometimes it’s too experimental, too exciting, too calling attention to itself, but it’s never boring, and it’s never hacky. It’s always trying to get something textured and layered and interesting and something that has a kind of visual flair.

Larson: At the beginning of Season 3, Ben had a tone meeting with all of us. He sat down the operators, the ACs, and the heads of departments, and had a long tone meeting with a lot of references. He made a very interesting grab bag of lenses, and he used certain lenses for certain emotional scenes so we would know to be looking out for scenes to shoot with those specific lenses. That was different from the other two seasons where we kind of found it as we went along. He came in with strong intentions, and I think that shows in the season. It’s beautiful, it’s painterly, as Mike said. It’s very calculated.

Avallone: For me, every time I start a show like this, I read the script and try to imagine what the place will look like. What is the aesthetic the DP will want to get from that location, from that specific spot? I make the movie in images in my head, in a way. On the third season, I wasn’t able to be part of location scouting like Frank was, but when we would arrive at each location to shoot, I was always able to talk with Ben and Frank. Talk through the idea behind each scene, the aesthetic for each shot, and what is necessary for the scene to be told. Sometimes it’s very interesting research. Obviously, Ben followed location scouting and everything much more deeply than us, so he came in with an idea, and we all tried to find the best point of view to tell the specific story. 

As Mike said, in Thailand, everything was bigger. The spaces were bigger, the hotel was bigger, the backgrounds were huge. Sometimes we had to move tons of things to make any single shot possible. In Sicily, it was a little bit more contained and easy to make it work. I think improvisation is a good word to use. You’re on a location, there is an idea, and you have to work that idea to make it work. Then the actor arrives, and the idea probably changes a little bit. And all that process tries to find the best way to tell what Mike has in his head.

Larson: I think the thing about the show that is different from other shows is that we’re always trying to go a little higher, and we’re allowed space to go a little higher. Armando, you’ve been doing this a long time, I’ve been doing this a long time, and that’s definitely not always the case. The expectations are very high, and they want you to add to those expectations. It’s challenging, but it’s great.

CO: Armando, you mentioned working with the cast this season. This show is an anthology in the sense that every season is telling its own separate story, but it’s also an anthology in the more micro sense of having all these different characters you’re following who each have their own stories. They intersect here and there, but they’re largely self contained. What was it like working with each of these different sets of characters throughout this season?

White: There were definitely conversations that we had at the beginning to talk about that. There was the family story, where the guy was considering killing his own family because he just didn’t want them to have to face the consequences of his actions, so that was like a kind of thriller, it had its own visual tone and tempo. Then there are the three friends, and that’s landing in a bit more of an observational, satirical tone. I think Ben definitely had a strong conceptual approach to the season, and it was beautiful, but some of those things worked better for certain stories than others. Ultimately, you want them to feel like they are all inhabiting the same space. Sometimes the painterly approach can take a little energy away from the more spiky story elements. In earlier seasons, we did more handheld, the camera was a little bit more alive and driving you around. In this last season, it was very painterly, very beautiful, but also a little bit more staid. In the end, the ship is sailing, and you just have to commit to the bit. What I liked about it was it had this kind of ethereal, spiritual quality that matched the theme. It felt like it was earned.

It’s interesting. We’ve done so many dinner scenes at hotels and people talking, so having a different approach really does impact the overall vibe of the final product. It’s fun, and it makes you think next time I want to pivot a little bit from what that was, to do something new and different. I’m really happy with how it visually turned out this last season. I think it looks gorgeous, and I’m really proud of all the work we all did. But also, now we can try something different.

Larson: In that tone meeting, we started out with very specific ideas that Ben had for the different characters and how he wanted to photograph them. Then as the season went on, we found the ones that worked and the ones that didn’t work as well, and moved forward. Specifically, if you watch the way Walton Goggins is photographed, you’ll see a lot of very wide lenses, very close. Same with Jason [Isaacs], because he’s going to be arrested when he goes home, his life is going to fall apart. As the scene progresses, the lenses get dirtier and weirder and the camera gets closer. But at the same time, we always resisted doing anything like dutching or doing anything really over the top. We wanted to do it with lenses and with more staid camera movement, as Mike was saying, than we have in the past.

Avallone: I remember the first conversation I had with Ben. He was trying to explain to me that in every single story inside this last season, he wanted to try to tell it aesthetically in different ways. For example, there were some specific lenses, like the Noctilux 50mm, that we used for Jason as he was starting to get more anxious. We wanted to try to get that sensation, but there’s also the commitment that you have with the DP. In this case, Ben wanted it to be as static as possible, which was really hard sometimes, because I started out as a Steadicam operator. For me, I’m thinking I can give it a little move to tell this story better, to pick up this energy, this emotion. Then suddenly there was this idea of let’s keep things static instead of moving the camera. So, for every single character, there was more work put into finding the best angle to give that idea of oppression or anxiety or excitement instead of big, huge camera movement like we did more in the second season.

Between camera operator and actor, it’s very important to try to create a relationship on set. It makes everything easier, because you sometimes need to ask the actor things to make the shot possible. If you create a relationship with the actors as a camera operator, it gives you the opportunity to find the right shot that the story wants instead of falling back on the classic close-up that everyone expects. Because The White Lotus is all about characters, you want to find the point of view that makes the characters more interesting. This is something that we don’t discuss as much with Mike because everyone is so busy on set, but with Frank and with Ben, we were trying to find the best way to tell each story.

Larson: Yeah, working as a camera operator, our relationship with the actors is very important; we’re in the scene with them. Every camera operator knows that, but imagine doing a job where you live with them for extended periods of time as well. You are in the same hotel for many months with the same actors that you’re at work with. That kind of changes everything. On every level of the show, people have to deal with that. I think it can be especially tough for the actors, but it does make the relationship bigger and more fruitful, and it makes the shorthand easier to come by and more natural.

Avallone: One hundred percent. That’s the thing that makes everything look better. You have to deal with everyone, every single day. You live in the hotel where you’re shooting, so you wake up and you jump out of bed and you are in the location. After maybe two months being in the same place, you have to find something new to give to people, a new point of view. You’ve seen that place in every possible perspective, and you have to say, okay, what can we do? How can we tell this better? It’s a very interesting thing: being on The White Lotus, you become part of the White Lotus itself.

CO: That’s something I definitely wanted to dig into a little bit. The origins of this show were during the Covid-19 pandemic, so there were a lot of restrictions in place on how you could shoot. Even after we’ve come through the other side of that, and a lot of those restrictions have started to loosen up, this is still something that you’ve chosen to carry forward into Seasons 2 and 3, this idea of everybody living and working in the hotel for the entirety of the shoot. What are the benefits of shooting in that way and the challenges of shooting that way? What made you decide that that’s the way you want this show to be shot?

White: I think it’s just a location show. Because of the aspirational travel aspect, I don’t know what the show is other than that. It really is one week of people on vacation in a specific location. This last season we did a much more mix and matching, where we were using pieces of different hotels on different islands to play as one hotel in the show. But, it’s just the nature of how it has to shoot; everybody has to be where we are shooting and the actors stay. I can’t really speak to what it is like for them, but just riffing on what Frank and Armando have been saying, I certainly feel it as the writer and director. I think germinating in the place where you’re shooting is actually enviable, because you don’t usually get to be on locations and sort of gestate there. By the time we were shooting certain things, we’d really experienced that place. It allows you to move past your first idea. You have a deeper relationship to this place. I think a lot of it is a testament to Armando and Frank’s personalities, but the actors trust them, trust that. They’re very different guys but the professionalism is the same. The actors are able to trust that they’re in good hands.

CO: Obviously every production is a little bit different in terms of the working relationship between A and B camera. What was it like on The White Lotus, and this season in particular? How did you decide which shots each person was going to take? How did you communicate on set? What did that relationship look like?

Avallone: Every project has its own rules, for sure. A camera is the one that basically tells the story. It’s the best point of view that can tell that specific moment of the story in the best way. I’m very happy to have Frank as A camera, because he’s really inspiring. He has a very good point of view on things, so when we have rehearsal, he is capable of finding the best way to tell that story. B camera works to give a nice point of view and a chance for the director and the editor to make the story more dynamic. I think that’s very important.

White Lotus, for example, is different than other shows or movies where B camera is just waiting for its chance to step in and do coverage. The White Lotus is about storytelling, it’s not just about one shot. That’s where the A and B camera need to work together. If we’re on a scene that involves characters talking, Frank might say, “Why don’t you try to do this?” and then we try together to find a way to give as much as possible to the director to be able to cut the scene. The second season was different, because we were moving the camera much more, which made everything easier for us as camera operators, because you just have to follow the flow. For me, when you’re following the flow, you make a connection with the story. In this case, because of the static nature of the shots, we had to talk much more about everything.

This changes when the Steadicam starts too. At that point, the Steadicam becomes, in a way, the A shot, so we have to talk about that and how we want to tell the story. There is a lot of conversation between Frank and I, and there is a lot of respect for what our point of view is, and that makes the job much easier. We follow the rules of A camera’s up and then B camera’s up, just like every single show, every single movie, but this approach to working together makes it much easier.

White: I have a question. How would you guys compare this third season White Lotus shoot to other jobs? Because for me, just in terms of elements and the length of shoot it was the hardest thing I’ve ever done. I thought I was going to die.

Larson: Privately, I say it’s the hardest thing I’ve ever done in my life—and now, I guess publicly—but it’s hard to complain when you’re on The White Lotus.

White: Hey, I complain and it’s my fucking show. When I think about what you guys did and how hard it was—that season was so gnarly. It was so hot. The show’s an outdoor show, so we’re out in the elements all the time, and even if we are indoors, there’s no air conditioning. I felt like it was worth it; obviously I’ve got as much skin in the game as anyone could. But, I have so much respect for these guys. I felt like I was barely surviving it, and I’m just sitting around at the monitors. They’re carrying a camera and having to deal with the mental fatigue and the physical toll it was taking. And our DP, God love him, was so exacting and unflagging. He’s as concerned about a shot on day 125 as he was on day one. There was never any coasting, which is a testament to his indefatigable approach.

I was just curious, because I will never do anything that hard again. I cannot do anything that hard again. I could not survive something that hard again. I feel like future seasons could be better, but as we start scouting now, I keep saying we’ve got to figure this out. We can’t do two weeks of days and then two weeks of nights. We have to have a hiatus. This has got to be a sustainable gig, because after this last one, I literally was like, am I alive? 

Avallone: I still remember the shot in the last episode when Walton Goggins is in the shootout and is carrying [Aimee Lou Wood]. I remember those days specifically, because it’s a good example of how physically hard the job was. We were all happy about early calls for once in our lives, because before sunrise, there was a chance to survive. We could talk about things and have our brains work in a proper way. Then at 6 a.m., the sun would start to rise up from the palm trees, and suddenly everyone was like a vampire. I remember we were there for that shot, and Ben and Mike turned around and said, “I imagine this is all Steadicam.” Frank and I looked at each other, and just said, okay.

Larson: Normally, your highest hope for a B camera operator is that they’re on the level, but what I learned working with Armando on Season 2, and that became something I’ll take moving forward throughout my career, is that having a B camera operator that compliments your talents—who has talents that you don’t have—is the greatest feeling on a set. To know that if there’s this shot, you have the power to do it, and if there’s this other shot, you’ve got the guy there to do it.

Having Armando there, I mean, we couldn’t be more different in terms of personality. I take everything very seriously, and Armando is always smiling. He’s wearing the Steadicam four hours into the sun, sweating through his pants, and he’s got the biggest smile on his face. Having that there to balance the energies throughout the seasons has been the greatest asset. I’m so thankful that we have Armando on the show.

CO: So, there was the heat and just the physical component of it all, but what were some other challenging parts of shooting this season?

Avallone: There are a few I can say. The heat was extreme, and obviously working with Steadicam was really challenging because there was no way to escape. There were no bounces to cover up heads, because there was no space to do it. We were under the sun all day long, and I remember drinking a bottle of water every two minutes to try to survive, to try to keep focus on things. And that was with people running and shooting. It was challenging.

There were three other specific days I struggled with. One was at the snake place. There was just one long shot with Steadicam while Walton freeing all these snakes from their cages, and what he’s doing is just throwing the snakes onto my feet. It was like, oh, fuck. I just had to keep going, keep moving and try not to step on them. Another moment was the Songkran day, which was the water holiday party for Thai people. Leslie Bibb, Carrie Coon, and Michelle Monaghan are walking through this road, and everyone is throwing buckets of water at them. Some of it was me on Steadicam and sometimes it was Frank and them on my side. How do we do this? There are 200 people throwing water at them, four feet from the cameras. How can we do it without destroying everything? How can we do it without falling down while walking backwards on that shot?

Larson: I think the hardest times all revolve around heat. Where were we stuck doing hard labor in the sun in Thailand. All of those examples you mentioned were some of the hottest days I can remember in my whole life. Do you remember the glass box where they were taking meditation? We couldn’t have air conditioning in that glass box, and it was a sauna. You would be sitting still in that box and thinking, don’t pass out. Sweat over every inch of our bodies. We ran out after every take. They have a tube of air conditioning pointed at the actor, we towel ourselves off and go back into this glass box. It’s hard to describe how difficult the heat was, but luckily for me, the hard days for Armando were the easy days for me. So, when he was running with the Steadicam in the sun, I was watching and appreciating his work.

Avallone: I don’t know how costume did it. In every scene you can see these beautiful actors dressed up perfectly, makeup was always perfect and everything. Meanwhile we were changing a t-shirt every three hours. I really appreciate the work they did, because it was impressive. 

The other hard moment was the Full Moon Party. Do you remember, Frank?

Larson: I do remember, yeah.

Avallone: They decided to make it a real Full Moon Party. We were basically going there with two cameras, two grips, and a really small amount of people with us so as to not interfere with the party itself, so as not to make it too fake. At the same time, there was the idea to try to be invisible to all the people around us. So suddenly, you are in the middle of this party, and there are thousands of people on this beach having fun, enjoying the moment, enjoying what was probably their first full moon party. You can imagine the level of intensity. There were people dancing, there were fire games, there were people drinking, people getting high, and Frank, Ben, and I had to get inside this madness with cameras. I don’t know how we made it.

Larson: Remember the boat there? There was a storm coming in, and half the boats had to turn back and get on a bigger boat because the waves were so big. I was certain we were going to sink. It was incredible, and it was tricky, but it was fun.

BEHIND-THE-SCENES

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Frank Larson, SOC

Frank Larson lives in New York. Originally from Kansas City, Missouri, he joined IATSE Local 600 in 2007 while working in New Mexico and became a member of the Society of Camera Operators in 2021. In his time working on The White Lotus, he moved from B Camera Operator in Season 1 to A Camera Operator for Seasons 2 and 3, while also serving as 2nd Unit DP for Seasons 1 and 2, and 2nd Unit Director for Season 2.

Armando Avallone, SOC

Armando Avallone is a camera operator who works with Steadicam and TRINITY. Born in a small town near Venice, Italy, Armando’s attention was captured by storytelling when his parents gave him a still film camera at the age of 13. That passion was further developed in film school at Scuole Civiche di Milano, where he began using a handmade Steadicam and fell in love with it. His professional experience developed over the years, starting out in music videos, television, and commercials. In 2018, Avallone shot the short film Si sospetta il movente passionale con l’aggravante dei futili motivi as a single, 16-minute-long sequence. The film played at the Venice Film Festival, which jump-started his career. His experience with Steadicam and knowledge of three languages allowed him to quickly become part of the international film world, with films like House of Gucci, The Old Guard 2, and Ridley Scott’s forthcoming The Dog Star. He’s also worked on television series including The White Lotus, Bad Sisters, Succession, and Mr. & Mrs. Smith.

Mike White

Mike White is a writer, director, and producer, mostly acknowledged for his award-winning HBO series The White Lotus. He wrote and produced the HBO series Enlightened and wrote and co-produced Year of the Dog, in which he made his directorial debut. Earlier works include Chuck & Buck, Orange County, The Good Girl, and School of Rock. 

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