Cinematographers
Interviews - Cinematographers
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“This Was the Aesthetic I’d Been into Since I’d Started Making Films”: Cinematographer Katelin Arizmendi on Lensing Cam
Alice (Madeline Brewer), the star of Cam, sustains herself as a full-time webcam model at the top of the “FreeGirls.Live” leaderboards. She aspires to break Top 50, but to do so she’ll have to descend deeper into her on-screen persona and farther from her off-screen principles. The system of rewards in this cyber cranny conditions her to betray her standards; the more Alice caters to her audience’s desires the more her fan base grows and the bigger her tips get. When she’s pushed to go beyond her comfort zone, a digital doppelganger of Alice, named Lola, manifests and assumes control […]
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“Let Logic Steer the Ship”: Michael Simmonds on Shooting Halloween (2018)
In his book Making Movies, Sidney Lumet wrote that he once asked fellow director Akira Kurosawa why he’d framed a shot in his period epic Ran in a particular way. Kurosawa replied that if he’d panned the camera an inch to the left he would’ve seen a Sony factory. Panning an inch to the right would’ve revealed an airport. I don’t know if Halloween cinematographer Michael Simmonds has read Lumet’s book, but after chatting with him I’m confident he would appreciate that anecdote. Simmonds, whose diverse credits range from the horror sequel Paranormal Activity 2 to the acclaimed documentary Project […]
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“We Should Recreate The Real World In Another Dimension”: Director Of Photography Sayombhu Mukdeeprom On Luca Guadagnino’s Suspiria
At the time of our Skype call, director of photography Sayombhu Mukdeeprom (Call Me By Your Name, Cemetery Of Splendour, Arabian Nights Vol.1 & 2) was celebrating the news that Nakee 2, a film he shot in Thailand last year, had just broken box-office records. He was also celebrating a friend’s wedding party in Bangkok, his choice venue for the interview, and its jolly attendees enjoyed hollering their two cents in Thai from off screen. Spirits were high. It was midnight in New York and 11:00 AM in Bangkok. My questions were too prepared. I had mistaken Guadagnino’s complex reimagining […]
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The Thrill of the Chase: Cinematographer Joe Anderson on Capturing Robert Redford’s Ride into the Sunset in The Old Man & the Gun
Robert Redford’s final day on David Lowery’s The Old Man and the Gun — perhaps his final day as an actor on any movie set — found him in Texas. Though the amiable based-in-fact caper was shot largely in Ohio on 16mm, Redford’s dapper bank robber actually did most of his pillaging in Texas and its neighboring states. Thus a few pick-ups were needed — the last of which featured Redford’s Forrest Tucker phoning a widowed rancher he’s romancing. “There was a little bit of electricity in the air for that scene,” said cinematographer Joe Anderson. “The shot worked really […]
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“Our Entire Moon Was Lit by One Single Lamp”: DP Linus Sandgren on First Man
In La La Land, cinematographer Linus Sandgren imbued the love story of two showbiz strivers with the opulent grandeur of the Golden Age Hollywood musical. First Man, which reteams Sandgren and La La Land director Damien Chazelle, presents the opposite challenge — reducing the mythic nature of mankind’s first voyage to the moon to something intimate, personal, and human. To do so, Sandgren eschewed the intricate, elegant long takes of La La Land in favor of an immersive cinéma vérité aesthetic inspired more by Pennebaker, Maysles and Wiseman than the sterile cosmic wonder of Kubrick. With First Man now out in […]
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Insecure DP Ava Berkofsky on Avoiding “Seinfeld Shots,” Faking Coachella and Lighting Mega-Churches
A row of symmetrically stacked airport luggage carts; the tumbling red-and-blue cylinders of a 7-Eleven Slurpee dispenser; the still life of neatly arranged condiments and coffee creamers on a diner countertop. While the romantically and professionally struggling twentysomethings that populate HBO’s Insecure make their share of pilgrimages to taco trucks, clubs, and even Coachella, it’s those tableaus of Los Angeles at its most quotidian that make the sprawling city feel as if it’s being viewed through a different lens. With the show’s third season recently wrapped up, cinematographer Ava Berkofsky spoke to Filmmaker about how she “makes L.A. feel like L.A.” […]
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“I Only Want to Tell Caribbean Stories”: DP Shabier Kirchner on His Directorial Debut, the Short Film Dadli
I read a book on architecture and design in the subtropics, once, a long time ago, that described the region as inherently cozy. Palm trees and big-leafed plants, it said, are made for hiding; enough of them, bundled together, will look like home. Tiquan, the thirteen-year-old narrator of cinematographer Shabier Kirchner’s directorial debut, Dadli, has places to hide, the way teenagers need to. “I go far in the country,” he says. “Hunt, get high — nobody troubles me.” Dadli, a brief and searing documentary portrait of Antigua, where Kirchner grew up, is as short as Tiquan is young, but it […]
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“We Can Never Forget that We’re in the Apocalypse”: Reed Morano on I Think We’re Alone Now and Her Post-Emmy Career
Reed Morano has had quite the year. She took home an Emmy this time last year for Outstanding Directing for a Drama Series for The Handmaid’s Tale. She started working alongside Blake Lively and Paramount Pictures on The Rhythm Section and her second directorial feature, I Think We’re Alone Now, premiered at Sundance, and then in theaters this month. And then a few days after we interviewed her, it was announced that she inked an overall deal with Amazon Studios. Morano’s work, from her start as a DP to her rise as a director, maintains a visual excellency and attention […]
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BlacKkKlansman DP Chayse Irvin on Shooting with Expired Ektachrome and the Spike Lee Dolly
Early in Spike Lee’s collaboration with Chayse Irvin, the venerable director asked his cinematographer if there was anything special he needed for BlacKkKlansman. Irvin answered, “a third camera”—an extravagance on a low budget movie, but one Irvin believed would allow him “to take massive risks on every scene, whether it be a unique angle or the freedom to use a lens that was flawed.” Irvin embraced that self-imposed mandate for boldness by employing imperfect vintage lenses, “flashing” the image with a contrast-reducing filter and dusting off long-expired film stock. Never one to wilt in the face of risky choices, Lee […]
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“My Best Tool is Empathy”: Four Female Cinematographers on “The Female Gaze”
“I think women drill down and they’re not afraid of emotion,” says cinematographer Joan Churchill about females working behind the camera in film. Joined by other lauded DPs Ashley Connor (The Miseducation of Cameron Post), Agnès Godard (35 Shots of Rum) and Natasha Braier (Neon Demon) on a panel as part of the Film Society of Lincoln Center’s The Female Gaze series, the women discussed the breadth of their work. Running currently through August 9th at the Walter Reade Theater in New York City, the series shines light on incredible cinematographers throughout the decades, all of whom are women. Some […]
