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2023 Sundance Questionnaire: Cinematographer Responses

Park City's main street with a snow-covered mountain looming in the background, the Egyptian Theater in clear view.Photo: Kelsey Doyle, courtesy Sundance Institute.

Each year, Filmmaker sends all Sundance feature film or series cinematographers a questionnaire to complete ahead of their film’s festival screening. We also send out editor questionnaires and a single question for feature directors to answer.

Below, find links to individual cinematographer responses, which will be updated daily during the festival.

“We Had To Capture Bioluminescence on Camera in the Most Organic Way”: DP PJ López on La Pecera

“It Was -30 to -40 Degrees Celsius for Most of the Shoot”: DP Bryn McCashin on My Animal

“You Hope the Work Can Play a Small Part in Moving the Needle Forward”: DP Jeff Hutchens on Murder in Big Horn

“It Was up to the Subject To Choose Their Own Eyeline”: DP Bobby Bukowski on Willie Nelson & Family

“Nobody Shot a Feature Film on 16mm in Lithuania for a Long Time”: DP Laurynas Bareiša on Slow

“I Wanted the Camera To Be an Actor”: DP Johan Aidt on Poacher

“Our Cinematography Hopefully Emphasizes the Elegance of Mariachi”: DP Michael Crommett on Going Varsity in Mariachi

“The Freedom To Find My Own Way Through Such a Personal Story”: Director-DP-Editor Sierra Urich on Joonam

“I Was Basically Operating as a One Man Band”: DP Nelson Walker on Nam June Paik: Moon Is the Oldest TV

“Shoot Wide and Close!”: DP Jeremy Prusso on Aliens Abducted My Parents and Now I Feel Kinda Left Out

“The Alexa Has a Wonderful Creaminess to Its Capture”: DP Scott Miller on A Little Prayer

“An Escape to the Coolest Boho Pad on the Beach”: DP Tim Cragg on The Deepest Breath

“A Deep Reminder of How Beauty and Darkness are Intertwined”: DP Jenni Morello on Victim/Suspect

“Our Goal Was To Show the Region as We Appalachians See It, As a Place Full of Complexity and Grandeur”: DP Curren Sheldon on King Coal

“I Had To Shoot This Film as a One-Person Crew”: DP Luke Lorentzen on A Still Small Voice

“My Own Sweat Would Drip Onto the Camera”: DP Ants Tammik on Smoke Sauna Sisterhood

“The Textures, Colors and Feeling of Muscogee Nation Permeate the Screen”: DP Tyler Graim on Bad Press

“Choosing the Perfect Lens for Us Was the Bigger Challenge”: DP André Jäger on The Persian Version

“From the Beginning I Knew This Film Was About Performance”: DP Frederic Van Zandycke on When It Melts

“I Was Drawn to Harlem as a Character and How Gentrification Was Also an Antagonist”: DP Eric Yue on A Thousand and One

“A Story That Plays With the Senses”: DP Lílis Soares on Mami Wata

“Many Moments Are Raw and Shot on Intuition”: DP Iris Ng on Twice Colonized

“A Larger Than Life Revolutionary”: DP Rose Bush on The Disappearance of Shere Hite

“I Could Tell There Was a Lot of Love in the Story and the Team Behind It”: DP Nate Hurtsellers on Theater Camp

“Really Great DIY Energy From the Beginning”: DP Matthew Pothier on Mutt

“This Film Is Really a Poem in a Lot of Ways”: DP Laura Valladao on Fremont

“I Wanted the Lenses To Have Some Character”: DP Greg Harriott on Going to Mars: The Nikki Giovanni Project

“In Preparation We Talked About Claude Sautet’s Films”: DP George Lechaptois on Other People’s Children

“With Each Interior Location We Had a Distinct Color Palette”: DP Cary Lalonde on Young. Wild. Free.

“I Would Cry Every Take We Shot”: DP Carolina Costa on Heroic

“Our Material Spans 150 Years of Camera Technology”: DPs Axel Danielson and Maximilien Van Aretryck on Fantastic Machine

“The Sea Has Always Been Sensual and Angry”: DP Ashok Meena on Against the Tide

“It’s All Love and Rage”: DP Ashley Connor on Polite Society

“In Hybrid Documentaries, the Classic Rules of the Game Do Not Always Work”: DP Andrii Kotliar on Iron Butterflies

“Find Beauty and Magic in Everyday Life”: DP Carolina Costa on Fancy Dance

“We Wanted To Get Creative With Negative Space”: DP Dan Adlerstein on Onyx the Fortuitous and the Talisman of Souls

“A Transition That Happens When the Kid Becomes the Adult in the Relationship”: DP Greta Zozula on Fairyland

“The Opposite To Many Depictions of Glasgow”: DP Tasha Back on Girl

“I Drew From My Love of Heightened Naturalism”: DP Mia Cioffi Henry on Invisible Beauty

“I Had an Overwhelming Reaction to the Script”: DP Matt Henley on Bad Behavior

“Weaving a Texture of Human Behavior”: DP Manuel Billeter on Cat Person

“Our Process Revolved Around Letting the Kids Be Kids”: DP Molly Manning Walker on Scrapper

“I Knew It Would Be an Amazing Journey To Go On”: DP Annemarie Lean-Vercoe on Is There Anybody Out There?

“We Lost Quite a Bit of Time Waiting Out Lightning Storms”: DP Brian Lannin on The Starling Girl

“The Gorgeous Light of LA Sunsets Always Seemed To Come Too Soon”: DP Derek Howard on The Tuba Thieves

“We Had To Protect the Chemistry of the Cast Whilst Maintaining Social Distance”: DP Aaron McLisky on Talk to Me

“A Love Letter to South London”: DP Olan Collardy on Rye Lane

“I Accumulated Hours of Vital Yet Unpublished Footage”: Mstyslav Chernov on 20 Days in Mariupol

“Cows Are Terrible to Work With”: DP Ruben Impens on The Eight Mountains

“Everyone on Set Cheered When We Did Playback”: DP Santiago Gonzalez on Shortcomings

“These Same Street Corners Have Evolved Into Something Almost Unrecognizable”: DP Sara Kinney on The Stroll

“Rendering American Urban Landscapes as a Character”: DP Derek Howard on PLAN C

“The Set Was Built Inside a Real House”: DP Fran Fernández-Pardo on MAMACRUZ

“The Real Violence and Danger Women Sometimes Go Through When Giving Birth”: DP Chananun Chotrungroj on birth/rebirth

“The Cinema Gods Smiled Upon Us”: DP Andrij Parekh on The Pod Generation

“I Opted for a Low-key Chiaroscuro Look”: DP Sherwin Akbarzadeh on Shayda

“For This Project, I Had a Collection of Over 1000 Images of Penélope Cruz”: DP Gergely Pohárnok on L’Immensità

“We Needed To Embrace a Certain Amount of Ugliness”: DP Dustin Lane on Sometimes I Think About Dying

“In the Desert, There Were Challenges We Couldn’t Foresee”: DP Boaz Freund on The Longest Goodbye

“The Sociohistorical Significance of a Black African Woman Holding the Camera in Her Hands”: DP Hankyeol Lee on Milisuthando

“Alexa Mini, My Best Friend in Digital Cinematography”: DP Josée Deshais on Passages

“What Would the Spirit of These Influences Feel Like in Orange County?” DP Michael Fernandez on The Accidental Getaway Driver

“A Deep Reminder of How Beauty and Darkness are Intertwined”: DP Jenni Morello on Shooting <em>Victim/Suspect</em>

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