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2024 Sundance Questionnaire: Cinematographer Responses

The marquee at Park City's Egyptian Theater that reads "Sundance Film Festival."Photo by Maya Dehlin

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 a single question for feature directors to answer as well as questionnaires for editors and first-time Sundance feature producers.

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

“I Feel Like We Made an Image That I Have Never Seen Before”: DP Eric Yue on I Saw the TV Glow

“Creating a Mood and Tone Is the Most Impactful Element of Cinematography”: David Bolen on Thelma

“Each Day Was a White-Knuckle Ride”: DP Ryan Kernaghan on Kneecap

“We Tried to Take Advantage of What We Found on Site”: DP Nicolas Canniccioni on How to Have Sex

“The Images Mostly Emerged Intuitively”: DP Yunus Roy Imer on The Outrun

“I Get to Work with So Many Talented People”: DP Kevin Fletcher on It’s What’s Inside

“Simplicity Would Become One of Our Fundamental Rules”: DP Ximena Amann on Sujo

“There’s a Gritty Reality That is Undeniable”: DP David Timoner on Dig! XX

“You Live and Die by Your Crew”: DP Doug Emmett on The American Society of Magical Negroes

“Love Machina Taps into the Lofty Idealism of the 1960s”: DP Peter Sillen on Love Machina

“Me Being There by Myself Led to More Authentic and Intimate Situations”: DP Silje Evensmo Jacobsen on A New Kind of Wilderness

“We’re There To Solve Logistical Problems All Day Every Day”: DP Steve Yedlin on Winner

“The Biggest Challenge on a Verité Production is Time”: DP Christopher LaMarca on Sugarcane

“The Audience Must Be Transported Here to Feel What It’s Like”: DP Andrey Stefanov on Porcelain War

“Adapt and Let the Film Show You What It Wants to Show You”: DP Kristen Correll on My Old Ass

“It’s Super Important to Me to Light Scenes, Not Shots”: DP Jih-E Peng on Girls Will Be Girls

“To Get Soaked Into the Story and Not Be Aware of the Camera”: DPs Tom Bergmann and Konrad Waldmann on Eternal You

“I Was So Moved to Have Had the Privilege of Capturing This Historic Moment”: DP Karen Gómez on Igualada

“Shooting in the Woods Can Be Really Exciting”: DP Wilson Cameron on Good One

“I Prepared Myself by Digesting a Lot of Close-Ups and Portraits”: DP Iikka Salminen on Sebastian

“Operating Handheld for the Whole Film”: DP Matthew Ballard on Tendaberry

“My Main Idea Was To Work With Perspective”: DP Michał Dymek on A Real Pain

“It Was Essential to Offer the Cast Complete Freedom of Movement”: DP Mauro Pinheiro Jr. on Malu

“Our Style Was Very Observational”: DP Bruce Sakai on And So It Begins

“I Am an Obsessive Collector of Photography Books”: DP Alejandro Mejia on In the Summers

“A Balance Between Look and Ergonomics”: Cinematographers Logan Triplett and Allison Anderson Triplett on As We Speak

“Light Cannot and Should Not Limit the Movements of the Actors”: DP Diego Romero Suarez-Llanos on Reinas

“Tell the Story That’s on the Page Thoughtfully and Compassionately”: DP Nathan M. Miller on Penelope

“Debra is Incredibly Skilled at Recognizing What Will Remain Salient”: DPs Sean Hanley, Kefentse Johnson and Eric Phillips-Horst on Conbody VS Everybody

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