John Wells is the creative force behind hits such as ER, The West Wing, Southland, Shameless ,and Third Watch, so when he gets a 19-episode first season guarantee, you know the show must be good. His latest FOX series is Rescue: HI-Surf, which premiered on Sept. 22 and is TV’s highest-rated fall drama debut in six years.
The lifeguard drama follows the personal and professional lives of the heavy-water lifeguards who patrol and protect the North Shore of O’ahu—the most famous and dangerous stretch of coastline in the world.
Yes, this is a lifeguard show, but don’t compare it to Baywatch—this is a very different kind of show. John excels at creating actor and story driven stories, so while Rescue: HI-Surf may be pulse-pounding, the action is secondary to the emotion. What also sets the show apart is the beautiful backdrop, which is accentuated nicely by cinematographer Anka Malatynska.
This isn’t Anka’s first series to be shot in Hawaii, she also worked on Amazon’s I Know What You Did Last Summer and CBS’s NCIS: Hawai’i, which would explain why some of the shots look so effortlessly stunning.
When discussing her work on the series Anka said:
“The production felt more like an independent film, which was our intention from the start. We wanted to blend with the environment and capitalize on the real Hawaii rather than controlling and manufacturing the picture-perfect version.”
Anka talks about all this and much more in our interview below.
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No Film School: What attracted you to Rescue: HI-Surf?
Anka Malatynska: I had heard that John Wells and Matt Kester were developing a project in Hawaii, starting with a pilot called Kenui Road for HBO, which ultimately evolved into Rescue: HI Surf.
At the time, I was working on NCIS and knew it was an amazing opportunity. I began sowing the seeds with the John Wells company, letting them know I was in Hawaii and eager to work with them. As a surfer, it was an incredible chance to be part of something that aligned with my passion.
NFS: The great John Wells (known for ER and The West Wing) directed the pilot episode. What was it like working with him?
Malatynska: Working with John was quite an experience. He’s won six Emmys and been nominated for many more, so there's a confidence in how he operates. I know I can trust his creative choices.
Before I started working with him, I was warned that I would have to work fast. I realized it’s because he’s been developing the project for so long. To him, once we’re on set, it’s almost like the project is done—we’re just ready to roll. Directing with him feels a bit like making jazz; it’s all about spontaneity and finding that rhythm in the moment.
My prep time with him was really about accepting that we would discover much of it on the day. John encouraged me to embrace spontaneity and reminded me that not everything has to work perfectly. It was incredibly exciting and dynamic; we were always on our toes. The unique thing about his sets is that there are no sides; the focus is on performance, not memorization.
We shot it like an independent film, which made it even more special.
NFS: Is Rescue: HI-Surf the most physically demanding project you've worked on?
Malatynska: Yes, it’s one of the most physically demanding shows I’ve ever done. I got in great shape during the shoot because we had no choice. We were on our feet for 12 hours a day on the beautiful, but challenging North Shore beaches and in the water, where the sand feels like deep snow. Jogging up and down the beach is a serious workout.
While it wasn’t freezing like winter shoots, shooting in the sun all summer is exhausting. I ended up spending over 158 days on set, working across all 19 episodes with about 10 different directors, which kept us moving—literally logging 10 miles a day on the beach.
'Rescue: HI-Surf' FOX
NFS: You shot all 19 episodes of the first season. How did you manage that? Isn’t it common to alternate between DPs?
Malatynska: Usually, it is standard to alternate episodes with another DP to prep with the incoming director. However, I was the only DP on land, while Don King handled the water unit. The water unit operated like an action second unit, but also had our cast performing their own stunts.
There were days when I thought, “How am I going to get through the immense amount of work that shooting 19 episodes is?” But you just take it one day at a time. After we got a mid-season pickup for seven additional episodes, I took a few days off, with the fantastic Kurt Jones from NCIS covering for me. That little break allowed me to recalibrate and prepare for the final episodes.
I believe in a mantra: “I have to give more to get more.” So instead of resting on weekends, I focused on swimming, running, and surfing to stay in shape. I knew that the more I moved, the more energy I’d have on set.
NFS: In the premiere, there are many overhead shots during the lifeguard rescue. Were you in a helicopter?
Malatynska: Nope! We used drones for those shots. Helicopter footage is becoming less common because drones offer such excellent capabilities. We had a drone unit for every episode.
DP Anka Malatynska BTS FOX
NFS: Given that Rescue: HI-Surf is set in Hawaii, much of the series takes place outdoors. Does the light always look like golden hour?
Malatynska: We shot with about 80 to 90 percent natural light, which meant we had to make conscious decisions about our lighting approach. It’s interesting that you mentioned the golden hour effect. In winter, the sun has a low angle in Hawaii, which gives that magical quality to the light throughout the day. The North Shore’s unique positioning means the beach and mountains are backlit all winter, creating stunning visuals.
As the season progressed into summer, the light changed; the sun rises higher and alters the quality. Plus, ocean spray and clouds provide a beautiful diffusion. The winter light on the North Shore is something special, and we aimed to chase that natural beauty while dancing with the elements.
NFS: Do you have any tips for shooting underwater?
Malatynska: Everything takes longer underwater! You can’t rush it, especially in the ocean, which is always moving. Having jet skis for support is crucial because you can drift while shooting. For anyone interested in underwater filming, it’s really not as intimidating as it looks, but you have to let go of the notion that you’re in control.
Our second unit director, Brian Keaulana, always said that the ocean is the biggest diva on set.
NFS: As a surfer, did your skills help during the shoot?
Malatynska: Absolutely. Being comfortable in the ocean and understanding how surfers handle their boards definitely helped.
Plus, it was great to paddle out with my crew during lunch breaks.
DP Anka Malatynska
NFS: Were there any firsts for you on Rescue: HI-Surf?
Malatynska: Yes! The production felt more like an independent film, which was our intention from the start. We aimed to keep things small and nimble, especially given the tight filming location. We wanted to blend with the environment and capitalize on the real Hawaii rather than controlling and manufacturing the picture-perfect version.
In the end it’s pretty gorgeous here, so you can’t go wrong and it was awesome to imbue the show with a strong taste of authenticity.
NFS: Is there anything you’d like viewers to know about your work on the show?
Malatynska: I want to emphasize that we shot this series with relatively minimal resources: like an Indie film. We didn’t rely on large lighting rigs or overhead diffusion; instead, we made the most of natural light. Using Red Raptor cameras—one of the most budget-friendly production cameras I’ve worked with—showed that you can achieve stunning visuals on a lean budget.
My approach mirrored indie filmmaking: it’s not about adding more, but about finding and enhancing the beauty that’s already there. Hawaii is full of natural beauty, and this experience really opened my mind to what’s possible with limited equipment.
You can watch Rescue: HI-Surf every Monday at 9pm on FOX.
