Andrij Parekh
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“The Cinema Gods Smiled Upon Us”: DP Andrij Parekh on The Pod Generation
In the not-so-far-flung future, a New York Couple (played by Emilia Clarke and Chiwetel Ejiofor) manage to snag a spot at the coveted Womb Center, which offers conveniently detachable vessels that foster fetuses without a human toll. This is the premise of Sophie Barthes’s latest film, The Pod Generation, a meditation on the rampant commodification of natural processes in our tech-obsessed culture. Cinematographer Andrij Parekh—Barthes’s husband and long-time collaborator—delves into the specifics of shooting the film, including his painstaking efforts to utilize as much natural light as possible. See all responses to our annual Sundance cinematographer interviews here. Filmmaker: How and […]
by Filmmaker Staff on Jan 20, 2023 -
“He Was Loaded with Apparent Contradictions”: DP Andrij Parekh on The Catcher Was a Spy
In 2005, Filmmaker hailed Andrij Parekh as one of its 25 New Faces of Independent Film. Since then, the New York-based DP has gone on to shoot a number of major films and series: Blue Valentine, The Zookeeper’s Wife and HBO’s Show Me a Hero, to name a few. Parekh served as the DP on The Catcher Was a Spy, a period drama starring Paul Rudd as a professional baseball player (Moe Berg) who was tapped to become a spy during World War II. Ahead of the film’s premiere at the 2018 Sundance Film Festival, Parekh spoke with Filmmaker about the film’s […]
by Filmmaker Staff on Jan 24, 2018 -
Cinematographer Andrij Parekh on Lighting Ryan Gosling
Starting this week, every Thursday the Filmmaker website will be hosting exclusive videos courtesy of Craft Truck, a new website which hosts “conversations with the world’s best cinematographers, editors, technology companies and more from the world of film and television.” To kick off this series, acclaimed d.p. Andrij Parekh talks about his approach to lighting and how this impacts on the performances of actors, such as Ryan Gosling, who he shot in Ryan Fleck and Anna Boden’s Half Nelson and Derek Cianfrance’s Blue Valentine and The Place Beyond the Pines.
by Nick Dawson on Aug 1, 2013 -
CAMERA READY: FOUR CINEMATOGRAPHERS ON THEIR CRAFT
Originally published in our Spring 2008 issue, top flight DPs Andrij Parekh, Tim Orr, Sean Kirby and Ellen Kuras give candid insights on the formats they shoot on. Here Parekh (pictured above) talks about how shooting on video at times doesn’t speed up a shooting day: How will your format choice affect the physical production in terms of making it easier or, depending on your choice, more challenging? Are there budgetary ramifications? I find that shooting video actually takes more time, not less, than shooting on film. One has to be extremely particular regarding lighting. The main problem is that what […]
by Jason Guerrasio on Nov 6, 2011 -
The Set Up: Three Pairs of DPs and Production Designers Reveal the Creative Synergies Between These Two Departments
Without an environment to shoot, cinematographers have nothing; without directors of photography to shoot their sets, production designers have no purpose. It takes a lot of people to build a world for the camera to film, and while the director may inspire and supervise its creation, it takes a production designer and a cinematographer to get it in front of the lens. The creative and practical collaboration between these two key crew members often gets personal. It is always co-dependent. We spoke to three such teams about their most recent projects together – Inbal Weinberg and Andrij Parekh of Blue […]
by Alicia Van Couvering on Jul 1, 2010
