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2023 Sundance Questionnaire: Cinematographer Responses
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
“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
“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
“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
“Choosing the Perfect Lens for Us Was the Bigger Challenge”: DP André Jäger on The Persian Version
“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
“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
“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
“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
“Find Beauty and Magic in Everyday Life”: DP Carolina Costa on Fancy Dance
“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
“We Lost Quite a Bit of Time Waiting Out Lightning Storms”: DP Brian Lannin on The Starling Girl
“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
“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 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
“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
“Alexa Mini, My Best Friend in Digital Cinematography”: DP Josée Deshais on Passages
