Cinematographers
Interviews - Cinematographers
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Interview with E-TEAM D.P. Rachel Beth Anderson
Filmmaker: Why this movie? Why did you decide to do it? Anderson: For me shooting for this film was a fast YES after learning about the E-Team concept, and knowing I would be working in Syria with Human Rights Watch. I had recently witnessed HRW in action while filming during the Egyptian and Libyan uprisings and respected the quality of their work. It had been difficult to watch the devastating situation in Syria unfold from affair, but with this film I knew I would be in safest hands possible smuggling across the border with an HRW team. Filmmaker: How much of your […]
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Appropriate Behavior and Obvious Child D.P. Chris Teague
In every young filmmaking scene, there are always one or two up-and-coming DPs you want to shoot your movie. These are the guys, or women, who have shot award-winning student films, who have loyal crews, and who know how to bring extra style, assurance and compositional smarts to first-time features. In the New York independent film community, Chris Teague has been one of those folks, and this year his talents are receiving greater recognition at Sundance, where two of his narrative feature films are debuting. In the Premiere section is the debut of Gillian Robespierre’s Obvious Child, a sly comedy […]
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Joseph Oxford and Bradley Stonesifer Create a World in Cardboard for Me + Her
Director Joseph Oxford and cinematographer Bradley Stonesifer created an imaginary world using cardboard boxes and rubber bands for their animated short film Me + Her. A labor of love that evolved over four years, their work was rewarded when the film was accepted into Sundance’s Short Film program. Oxford has worked in the industry since 2007 in a variety of roles, including production assistant and art director, but Me + Her is his first project as writer and director. Oxford first met cinematographer Stonesifer through a director friend, and they both worked on the film The Vicious Kind in 2008. […]
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D.P. Phedon Papamichael Talks the B&W Imagery of Nebraska, Lighting Movie Stars and his Online Film School
Cinematographer Phedon Papamichael is finding a new audience of fans with his striking black-and-white camerawork in Nebraska, a father-and-son road trip starring Bruce Dern and Will Forte. With this third collaboration with director Alexander Payne, following Sideways and The Descendants, Papamichael is on a list of potential Oscar nominees. He was recently included in a Hollywood Reporter roundtable of five top cinematographers, a series that often portends year-end award winners. His other work includes James Mangold’s Walk the Line and Oliver Stone’s W. He just completed Monuments Men with George Clooney. Papamichael was born in Athens and studied photography and art […]
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In Conversation: David Cronenberg’s D.P. Peter Suschitzky
Peter Suschitzky has photographed films for John Boorman, Ken Russell and most notably David Cronenberg, but the 72-year-old d.p. still prepares each film with the written word. “It begins with a careful reading of the screenplay,” he says in a polite English accent over the phone from London, “trying to get a feel for, subconsciously, what’s in that script.” Suschitzky is giving interviews to promote, Evolution, TIFF’s celebration of hometown boy and horror master, Cronenberg. Evolution launches Hallowe’en week at the TIFF Bell Lightbox in downtown Toronto with a multimedia exhibition of celebrating Cronenberg’s five-decade career that began long before […]
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Shooting with 18 Cameras: The Making of The Short Game
With a background in comedy shorts, you’d be forgiven if you thought Josh Greenbaum’s first feature, a documentary that follows the 7 and 8-year old competitors in the World Championships of Junior Golf, would be a dark look at another group of driven parents. But that’s not what Greenbaum was interested in doing. Instead, he focuses on the children, these pre-teens who can, at turns, appear tremendously adult, or just like any other 7-year old. The Short Game follows eight competitors through last year’s championships, though production actually started a year before at the previous championships. That was where they […]
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Gordon Willis: “I Never Got Fired”
Gordon Willis, the legendary cinematographer who shot The Godfather and Annie Hall, reveals in this clip from Craft Truck‘s cinematographer series how to be a valuable crew member and the norm of the relationship between the director and d.p. Watch the full interview here.
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Cinematographer Zach Zamboni on Creativity and Shooting with Just Two Primes
Zach Zamboni, a cinematographer on Anthony Bourdain’s series Parts Unknown, recently spoke about his philosophy of shooting and being creative at an event in Boston. Particularly intriguing was his description of shooting an episode using just two prime lenses and his interest in shooting with Super 16 lenses on the Sony F55. About cameras, Zamboni said that he doesn’t believe one camera is “right or wrong” for a job. “The choice of camera will inform the lenses I’m going to put on that camera,” he remarked. “Those lenses will inform my behavior with that camera, and that will start to […]
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Gordon Willis on the Faux Pas of “Dump Truck Directing”
We’re back to legendary cinematographer Gordon Willis in a Craft Truck interview as he cautions against “dump truck directing” — a term he coined to describe the bad habit of directors who aren’t discerning when shooting and overwhelm editors with footage. Willis’ sage advise comes in handy for the digital filmmaker whose temptation to fix everything in post can overshadow the simplicity of doing it right the first time. You can watch the rest of the interview here.
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“In the Same Way Painters Used Their Paint…”: D.P. Bradford Young on Ain’t Them Bodies Saints and Mother of George
In just a few years, Bradford Young has emerged as one of the most auspicious and distinctive cinematographers in American independent film. First noticed in 2011 for his work on Andrew Dosunmu’s Restless City and Dee Rees’ Pariah, he was profiled by the New York Times the following year for his subtle, carefully framed cinematography on Ava DuVernay’s Middle of Nowhere. In just the past year, Young confirmed his early promise with two sumptuous and yet highly disparate visions: for David Lowery’s Texas-set period film Ain’t Them Bodies Saints (opening this week) and Dosunmu’s Brooklyn-based contemporary drama Mother of George […]
