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“I’m Like a Flare Hunter”: DP Natasha Braier on The Neon Demon

Elle Fanning in The Neon DemonElle Fanning in The Neon Demon

With the fantastical levels of post-production digital alchemy now possible, there’s an increasing trend toward not committing in-camera. But not when you’re working with director Nicolas Winding Refn, as cinematographer Natasha Braier discovered on The Neon Demon. “Most of the…  Read more

By Nov 30, 2016

A One-Camera Show: DP James Laxton on Moonlight

MoonlightMoonlight

Moonlight traces the path from childhood to young adulthood of a black gay man named Chiron growing up in a poor part of Miami. For me, it’s a film about identity and how that malleable construct shifts as a reaction…  Read more

By Nov 18, 2016

“You Gotta Be Ready for Anything”: DP Kris Kachikis on Shooting Christopher Guest’s Mascots

MascotsMascots

After a decade’s hiatus from feature-length faux documentaries, Christopher Guest returns to his enthusiastically delusional dreamers and kitschy subcultures with the Netflix original Mascots. Set in the world of competitive mascottery, Mascots finds the globe’s preeminent purveyors of plushy entertainment…  Read more

By Nov 15, 2016

Shooting Film Against the Digital Wave: DP Paul Cameron on Westworld

Ed Harris in WestworldEd Harris in Westworld

Considering cinematographer Paul Cameron is responsible for a portion of the seminal digital photography in Michael Mann’s Collateral, one might assume Cameron is a proselytizer of the digital revolution. Not so — Cameron remains an ardent devotee of celluloid, extolling…  Read more

By Oct 3, 2016


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