In reading through these interviews, it is clear that these cinematographers have not only mastered their craft but also used their experiences to push for change and inclusivity within the film industry. Their stories are inspiring and serve as a testament to the power of perseverance and determination.
Multiple cinematographers are potential nominees for the Oscars this year, having collaborated once more with directors from their past work. Some have filmed blockbusters that exceeded $100 million, while others worked on projects with more modest budgets. Regardless of their circumstances, six of the top cinematographers of the year participated in a Zoom discussion hosted by THR for their annual Cinematographer Roundtable in October. They shared insights about their career journeys, their views on visual effects, and the difficulties they encountered during their projects this year.
Six cinematographers were gathered: Maria’s Ed Lachman, who had previously collaborated with Pablo Larraín on “El Conde”; John Mathieson, who had lensed “Gladiator II” and several other films from Ridley Scott’s repertoire; Alice Brooks, who has worked with director Jon M. Chu on projects like “In the Heights”; Paul Guilhaume, who shot Jacques Audiard’s “Paris, 13th District”; Greig Fraser, who was also the cinematographer for “Dune: Part One” and will be doing “Part Two”; and Jomo Fray, a new collaborator with director RaMell Ross on “Nickel Boys”.
Could you tell me about your initial experience with this profession, and what led you to understand and value the significance of a cinematographer’s work?
ALICE BROOKS I spent my childhood in New York City, where my playwright father and dancer-singer mother resided. Our living conditions were modest, to say the least; we inhabited a tiny tenement apartment measuring just 300 square feet, with the bathtub positioned within the kitchen. At the tender ages of 5 and 3, my sister and I were enrolled in child acting by our mother. By the time I turned 15, I had participated in my final audition for a film titled While You Were Sleeping, a Sandra Bullock production. In my gut, I knew I hadn’t secured the role. I confided in my mom, “I don’t wish to be an actress. I aspire to become a cinematographer.” She responded with understanding, and at that moment, a small gray and white feather appeared before me – a keepsake I still treasure today.
I submitted an application for film school at USC, and my mom accompanied me to personally deliver it. She told me, “We can’t afford to send Alice here, but she deserves this opportunity.” Just two weeks later, I received a full scholarship. At that time, I believed it was the best day of my life.
As young as Alice, my odyssey began early on. At age 7, I recall standing before a video camera, expressing my ambition to become a filmmaker to my parents. Throughout my youth, my aspirations frequently shifted, from dreaming of becoming a scientist, to an astronaut, and so forth. I recall pondering that if I pursued a career in filmmaking, I could virtually live the life of a scientist for three months, then contemplate being an astronaut for two months. This seemed like an ingenious way to satisfy my diverse interests.
I recall the time when I watched “In the Mood for Love” (available in multiple languages) and phoned my mother, exclaiming, “Fifteen minutes in, I stopped reading the subtitles as I was utterly captivated by the visuals because they seemed to convey emotions directly into me.” That’s when my fascination with image creation truly took hold.
JOHN MATHIESON I gradually found myself drawn into it. I relocated to London where I encountered others experimenting with cameras. My journey started with borrowed equipment here and there. Unfortunately, I couldn’t join the union as they were unfriendly, prejudiced, and often supporters of Rupert Murdoch. So, I turned to music videos instead, which didn’t require a union pass. People appreciate movies, but it’s the cinematography that truly sticks in your mind, even if you can’t quite explain why. That was when things shifted, I think. I was in my mid-20s and became involved with music videos. One event led to another, and before I knew it, I found myself delving into drama.
PAUL GUILHAUME I hail from Paris, France. My mother was both an art teacher and a photographer. From a young age, my passion leaned towards cinema. A line producer known to my family took notice of my aspirations when I was 14, and she introduced me to the intricacies of filmmaking. This encompassed meeting directors, scriptwriting, and more. Among these roles, one particularly stood out: liaising with someone to discuss the visual style of a film, visiting museums, and suggesting that the movie’s aesthetic could mirror a specific painting. This role sparked my interest, and I decided then and there that I wanted to be that person.
As a gamer raised by an amateur photographer dad, I’ve always been skeptical about photography – I thought it drained your spirit. Fast forward to art school, and I stumbled upon a film appreciation survey course that introduced me to Italian neorealism. One movie in particular, Umberto D, by Vittorio De Sica, left a lasting impression on me. Despite having sound, it was essentially a silent film, and those striking images captivated me like nothing else. My fascination with found images grew stronger, leading me to believe that I could craft compelling narratives by piecing together various visual elements.
GREIG FRASER Initially, I embarked on my path with little knowledge about the movie industry, yet I excelled in photography during high school. To be honest, at that time, I wasn’t even aware of what a cinematographer for films does. While I knew the role of a cameraman in news, it didn’t appeal to me. Instead, I was drawn towards crafting artistic images. It wasn’t until I joined a film photography studio where I witnessed a cinematographer at work and realized that this profession offered the perfect blend of both passions.
Initially in your professional journey, you may not have the luxury to choose your colleagues. However, once you’ve built a reputation for yourself, how do you decide whom to collaborate with or re-collaborate with in the future?
LACHMAN Essentially, they engage our services. Over time, you develop a rapport with that individual. Typically, there’s a compelling factor from the initial movie that led to their preference for working together again in the sequel.
As a game enthusiast, when I’m diving into an unfamiliar title developed by an uncharted creator, I always consider these three factors:
With Pablo, every one of his movies had a unique, visually striking quality. Not all filmmakers focus on visual aspects, but collaborating with someone who excels in this area and appreciates your contribution can be incredibly stimulating. Moreover, when you find someone you resonate with creatively, it’s natural to want to keep working together. Many directors choose their cinematographers as they progress to larger productions, seeking the next top-tier director of photography. However, the filmmakers who attract this group are already well-established in their distinctive visual style, so they specifically choose these cinematographers because they understand why their work complements the director’s unique language.
MATHIESON (Ridley Scott) selected me, and that’s as straightforward as it gets. While it might seem like one has the power to choose, I believe that’s not entirely true. At some point, you reach a stage where you can no longer wait for an opportunity and must take the leap. Prior to this role, I had worked on a lesser-known film, but people primarily recognize me as the Gladiator character. “Give me men in leather miniskirts!” I’m no longer interested in portraying such roles. It seems that Scott has numerous projects he wishes to undertake, but often, one gets typecast based on past performances. So, yes, I have been successful, but it can also be a burden. Everyone yearns to be like Ed, as he boasts better hats than I do – just one example of his versatility in filmmaking that I respect.
I don’t know. … This idea you choose the project is not really true.
FRASER But you can choose not to do it, John.
MATHIESON Indeed, I had quite a long wait. People took their time making a movie, only for me to witness it fizzle out. I passed up on numerous opportunities because I was convinced that this would occur.
I’ve been friends with Jon Chu since our time at USC film school, where we shared a passion for musicals. We collaborated on a short film titled When the Kids Are Away, and his career flourished, causing us to lose touch for a while. Later, we began working together on a web series called The Legion of Extraordinary Dancers. Jon has always supported me, and I believe that having someone who believes in you, trusts you, and communicates effectively with you is extremely fortunate for me.
Jon had applied for jobs where he knew his chances were slim, receiving repeated rejections over several years. However, eventually, his career progressed to a stage where he could decide which opportunities to pursue. Interestingly, the movies “In the Heights” and “Wicked” were among those that didn’t require him to interview, yet somehow came his way, suggesting that sometimes, projects choose us as much as we choose them.
Hey Jomo, in your collaboration with Ramell Ross for the first time, did he have a strong vision about how his movie should appear, given that he’s typically handled the cinematography for his past projects himself?
Pondering the prospect of collaborating with a novel director, I’m drawn towards someone with whom I can collectively envision extraordinary ideas. It might seem unconventional, but I find excitement in joining a project whose visualization eludes me during script reading. In fact, if it captivates me as I read, I fear that the artistic challenge may be diminished because part of the creative process is already underway in my mind imagining what it could become. I thrive on tackling projects that present unique difficulties, not just for me as a cinematographer, but as an artist. For instance, in the movie The Nickel Boys, the entire film is shot from a first-person perspective. When I first read the script, I was puzzled by this approach. We eventually developed a concept we called “ascension perspective.” This involved using “first person” with the crew for visualization purposes, but for us, it represented an intelligent image more focused on emotional sensations rather than aesthetic appeal. This vision was always tied to a real body, a real person with genuine stakes as they journeyed through, in our case, the Jim Crow South.
Jomo, Did you find the experience particularly enriching since working with a director who had already directed films before? You picked up quite a bit, didn’t you?
ALTERNATIVE Certainly, he approaches visuals in a uniquely distinct manner, making our discussions incredibly enriching. This film project, however, presented a unique dynamic as a cinematographer, since I was capturing an image from within the scene itself. In essence, if Hattie, one of the characters, embraces Elwood, the protagonist, it’s essentially my arms that are giving her a hug.
In simpler terms, what process do you follow to decide on the aesthetic style for your movie? Does the director ask you, “What can we do to achieve this?” or does he instruct you, “Go ahead and make this a reality”?
GUILHAUME Developing the project was a collaborative effort involving numerous individuals brainstorming over several months, leaving us uncertain about the origin of the ideas. Emilia Pérez initially envisioned as a raw, handheld film set in Mexico, reminiscent of Amores Perros, but during our discussions, someone suggested creating an opera onstage with elaborate lighting effects instead. Over time, these two distinct concepts began to intertwine and eventually evolved into a single project. During the location scouting in Mexico, we recognized that the film might be overly grounded, while the opera could lack enough of a realistic setting.
Hi Greig! In the first movie, it was mentioned that Denis Villeneuve didn’t give detailed instructions on camera angles and such. I was wondering if he took a similar approach while working on Dune: Part Two?
FRASER Initially, we resolved all the technical issues with the first part. Though it’s great, it can sometimes lead to overconfidence that we’ve fixed everything. However, when making a movie as Paul mentioned, one is always searching for what the film is about. As Jomo stated, we are constantly analyzing and trying to figure out what this movie we’re creating is. We thought we knew what our film was because we had made it, but in reality, we were still discovering it as we progressed. Denis did offer some thoughts on our choices for Part One. I learned at the start of Part Two that he wasn’t a fan of the anamorphic lenses we used, which was quite challenging to hear at that stage. Once the film is released, it’s done, and he informed me, “Mate, I just don’t love those lenses.” I felt embarrassed because those lenses are my preference. While I do defend our decision to shoot anamorphic for some of the first movie, we didn’t use anamorphic lenses for the second film as it didn’t align with the storyline at hand. I still need to understand exactly what about them he dislikes.
John, are you still receiving guidance from Ridley during your collaboration, or has he started to trust that you have the skills to handle things independently and simply says, “John, you’ve got this. Go ahead.”?
MATHIESON Yeah, not much discussion, I’m afraid.
FRASER Was the process different on Gladiator II? There were so many years between them, John.
MATHIESON The only difference to me was filming digital.
FRASER But did he change his style?
It appears he’s kept up with the current trends, producing numerous films during that period. He’s quite productive in his work.
LACHMAN I know he used to go in the lab and time the dailies, even.
MATHIESON (Paraphrased) He never set up daily filming for me. Instead, he prefers digital formats as they provide immediate results. Recently, I stumbled upon an old video on YouTube, a behind-the-scenes look at the making of “Gladiator.” It seemed that when film was used, both he and the others were more actively involved around the camera set. Whenever someone would approach the machine to ask about what was being done, there was always a gathering. I prefer this setup because it allowed for quick problem-solving right after each take since everyone was present.
FRASER I thought you shot Gladiator II on film, but no — you’re telling us you shot digital.
MATHIESON (PARAPHRASED) The previous filming had a substantial amount of footage. Previously, we worked with around 5,000 extras; this time, it was closer to 500. It’s challenging to re-shoot extensive scenes with numerous cameras due to insufficient background, but it can be done digitally. The original Gladiator featured approximately 50 visual effects shots. I believe one reason it has endured is because of its limited use of CGI. This new film incorporates more CGI, although I’m not sure how many exactly. Ridley Scott was initially skeptical about CGI, but he has certainly come to embrace it now. However, in the past, we moved from 50 visual effects shots to around 800 in Kingdom of Heaven, and I’m not sure how many this film will have, but it will likely be in the thousands.
It appears that distinguishing between footage captured by a camera and visual effects (VFX) added later is becoming increasingly challenging.
As a fanatic about Wicked, I must share that the original film boasts minimal bluescreen, a testament to its grand production. Across 17 stages spread across three studios, our sets were strategically positioned end to end, from floor to roof. Every square inch of every stage was utilized, with two sets as large as four American football fields each and four backlot sets. Jon, Nathan Crowley, our brilliant production designer, Pablo Helman, our visual effects supervisor, and I had a conversation early on about our intention to create an Old Hollywood film, minimizing reliance on visual effects. Of course, we do employ visual effects: We have visual effects characters, the animals. However, for me as a cinematographer, these were real practical sets to illuminate. Jon is a director who prefers to capture scenes in 360 degrees, and so I would pre-light every Saturday and Sunday. The sheer size of our sets necessitated this approach. Some have asked me about the ceiling in the wizard’s throne room, questioning the set extension. Rest assured, that grandeur is all real.
John, you mentioned earlier that you rejected opportunities to film Harry Potter’s final chapters due to excessive green screen usage. Subsequently, you expressed, “How foolish of me,” upon discovering there was less of it than expected. I’m interested in knowing your perspective on the balance between visual effects and practical effects in your movies.
At that point, MATHIESON was considered to have made an extremely visual effects (VFX) heavy version of Harry Potter. Typically, making such a film involves five main stages. One is green, another is blue, and you spend however many days needed at these locations before producing the movie. Ridley, much like myself, entered this field to explore new horizons, to journey along the river’s bend. He seldom films in a studio. This film had only one scene shot in a studio, but it wasn’t a traditional studio – instead, it was a warehouse.
This filmmaker constructs a setting based on an ancient Napoleonic, neoclassical fort in Malta, which appears as if it’s crumbling like aged tea biscuits, constantly giving off a feeling of decay. The age of the structures is hard to determine, but the remnants of the old fort serve as a backdrop. Inside this setting, he creates an expanse that resembles Rome, complete with the Colosseum, temples, forums, and palaces. These structures require enhancement, but the actors enter a realistic representation of ancient Rome. Since Rome is one of the oldest cities known to us, it’s crucial to strike the right balance between real-life footage and visual effects (VFX). In the first film, there might have been some doubts about the VFX, which turned out to be beneficial because it gave the audience a tangible sense of being there. This director has a knack for creating immersive worlds.
I’d rather shoot it on film, of course, but he won’t go back there. Look at the awards last year. Look at how many of those films were shot on film, and I liked them all. But he will stay digital. He will never go back. He likes that, and for this sort of filmmaking, it’s better suited. Undoubtedly. I don’t say I like it. Rather than bluescreen hell, I’d rather go to a yoga retreat.
In an era where most industries opt for digital shooting due to cost considerations, some of you persist in choosing film. Is the struggle to maintain this preference becoming increasingly challenging?
Regarding my professional journey, I’ve worked with both digital and traditional film. There’s a unique charm to film that seems to be overlooked these days, as many budget-conscious filmmakers opt for digital instead. While I don’t necessarily think it’s harder to succeed, I believe the landscape is shifting slightly in favor of film due to its rediscovery by budget-focused accountants. However, it’s crucial to advocate for film at every opportunity because its preservation matters, and if we stop using it, it will disappear. In the upcoming film Dune: Part Two, we discovered that we could only achieve our desired aesthetic through the use of film as an analog intermediate, rather than a digital one. We initially captured on digital, then processed it through an analog intermediate.
MATHIESON Many are writing off Film due to its higher cost per frame compared to digital shooting. Yet, there’s a hidden expense that gets overlooked – the so-called “hidden dollar.” With digital cameras, they can run for 45 minutes uninterrupted on set per take, allowing for up to 4 hours of footage in a day. However, at the end of the day, all those extra hours need to be transferred, logged, which adds up to numerous hours of overtime work for the DIT and digital lab department, as well as editorial staff. It gets worse – there’s no longer a shared viewing experience of the dailies, a crucial collaboration ritual that helped us improve our filmmaking skills. This routine allowed us to identify what could be improved or appreciate difficult scenes that worked well. Nowadays, we don’t have the time for it. We seem to be wasting a significant portion of our day capturing footage that won’t make the initial assembly. Studios and producers should heed the advice of those they hire to create films – let them do what they want, how they see fit.
Expanding Our Perspective: The Advantage of Multiple Options! Having a variety of choices at our disposal broadens our horizons. There’s an essence in the visual storytelling when using celluloid. It’s not just about the vivid colors and how light is captured, but for me, it goes deeper into the very process of filmmaking. When shooting on film nowadays, there’s a unique trust that’s required, both in oneself and one’s team. I believe this fosters a special bond with your crew and a strong focus on the project’s purpose. … I don’t think it’s suitable for every production, but I do believe it’s ideal for certain projects.
GUILHAUME It significantly influences the visual aesthetic, infusing a subtle poetic charm and a touch of enchantment to the filming location. Each shot carries an almost spiritual significance, as both the actors and crew are fully immersed in the present moment during each take.
BROOKS Working with film is all about mastering light and understanding it. Without a monitor, relying on the film negative and your intuition is crucial. However, for me now, I’m captivated by digital photography. I believe that the workflow that Jon and I have established wouldn’t be feasible with film. I’m excited about where technology is heading… I’m not among those who insist on shooting exclusively with film.
As a movie enthusiast, I find that some narratives thrive in the digital realm, while others are better suited for film. For me, there’s an unparalleled depth in films due to the RGB layers and the organic, alive-like quality created by the random grain movement – a stark contrast to the pixel-focused, one-dimensional digital counterpart on a single film plane. The colors in film also have a unique quality, much like oil paints, whereas digital is more reminiscent of watercolors, not blending or producing the same rich nuances in an image.
Each of your movies features visually bold elements in unique ways. There are extended long takes, shots reminiscent of Busby Berkeley, massive group scenes, and POV switches that aren’t common – all seen in Emilia Pérez, Wicked, Nickel Boys, and Greig, where you used infrared shooting. For each of you, what scene or sequence in your upcoming 2024 film proved to be the most intricate or difficult to handle?
AS A FAN, I’D SAY: For me, it was crucial that Pablo could film at La Scala. Normally, they wouldn’t allow a film crew inside, except for documentaries. After long negotiations, we managed to secure four hours for $250,000, so the challenge was on: “How am I going to film this grand opera scene with an audience?” They wouldn’t let me in before the lights were set. So, I entered with 12 PAR cans to reflect off the ceiling. Then, I brought a large projector. To make it work, I collaborated with their lighting crew as they knew the stage lights best. In just 45 minutes, we were ready to go. The most nerve-wracking and complex technical task for me was finding the quickest way to illuminate La Scala.
For me, the most difficult part of working on Emilia Pérez was crafting the film’s ending. This scene featured a lengthy night shot, combining studio interiors, outdoor scenes filmed in a quarry near Paris, and full 3D VFX shots of vehicles traveling through the desert. Balancing these diverse elements effectively proved to be quite a challenge. As for the crew, they were instrumental in finding solutions. For instance, our gaffer, Thomas Garreau, came up with a solution for the quarry shot. Initially, I had considered using balloons, but he pointed out that it would be too delicate given the weather conditions. Instead, we used a 200-foot crane and a soft box to simulate moonlight on the set. Thomas also set up projectors all around the scene to shape the space for the film’s climax.
FRASER As things grow larger, they become increasingly challenging to manage, much like attempting to control a group of cats. Alice’s accounts of her experiences leave me astounded and even trigger anxiety in me. It’s all about capturing the character’s emotions through the lens, with everything else taking a backseat. If you can’t evoke the emotion, then it doesn’t matter if you’re there or not; it might as well not exist at all.
John, was shooting with eight cameras at the same time the biggest challenge?
MATHIESON It’s not really about the cameras themselves. With eight cameras, you won’t like every single shot. Ridley will select the best ones, but he wants to capture everything simultaneously. However, many of the cameras will be idle, only recording for a few seconds at a time. I did spend time in editing rooms.
As a fan, I can’t help but feel that the nights are challenging because there’s only so much time – about 8 o’clock – before they’re over, and we seem to have captured the summers during an off-season. Last time, we filmed at the beginning of the year, which gave us more light. Yet, when night falls, it arrives late in the evening, and by then, he just seems ready to fade away.
In our approach, we focused on the depth of understanding each character’s viewpoint. Throughout our lives, we inhabit our own bodies exclusively. We aimed for a POV (Point of View), but one that was inherently poetic in its visuals. To achieve this, every scene was designed as a single uninterrupted shot, minimizing additional artificial elements the actors would have to interact with, like looking directly into the camera or dealing with equipment for each shot. Furthermore, for lighting, we utilized mirrors to surround buildings and redirect light into spaces, creating an almost entirely reflective environment.
It’s an odd thing: If I was trying to think of what point-of-view might look like, I might grab something like a Steadicam, because we as humans stabilize our own vision and our mind. But in reality, it looked more ghostly. So there was a way in which handheld actually feels more present. In another room, I could do handheld and look down on my body and the camera would look down on the actor’s body. So there was a lot of engineering, and each scene needed a very specific camera. They were meticulously designed between RaMell and I to match this feeling of sight and connecting different pieces together. There are so many shots of the movie that I think seem and look simply gestured, but almost every single shot had some amount of intense orchestration.
Alice, what about you? Was it “Defying Gravity”?
BROOKS (PARAPHRASED) In our film, we aimed to challenge the conventional notions of light and dark, good and evil. The sun was symbolic for Glinda’s world, always bright and beautiful, while Elphaba’s was associated with the setting sun. We initially introduced Glinda in a radiant, captivating bubble, and Oz as a vibrant, luminous space. Glinda met Fiyero during the daybreak, while Elphaba encountered him at dusk, with a prolonged sunset scene set to “I’m Not That Girl.” Subsequently, in “Popular,” the sun rises for Glinda. The final 40 minutes of the movie, leading up to “Defying Gravity,” were essentially one long sunset sequence. I envisioned a specific sunset scene and needed everyone to share my vision. Emerald City was our most expansive set and it was costlier to shoot at night. We traversed through the wizard’s palace, culminating on top of the tallest tower in Emerald City. It was there that Elphaba discovered her power, leaping off a building and into the sunset as darkness enveloped the city.
Hey Paul, I found it intriguing that a significant portion of the movie’s beginning is set in darkness, with daylight only emerging when Emilia wakes up in the hospital. Could you share your thoughts on why this particular artistic decision was made?
Guilhaume’s role wasn’t about making the final decision, but rather determining which nights would be the opening act and the closing act. The initial night was relatively straightforward because of our approach. He believed that even though we were in a studio, it should feel authentic. The first major musical scene involved Zoe Saldana, who danced and sang in Mexico, but this was filmed in a studio. To give it a more realistic feel, we incorporated numerous references and even light bulbs purchased in Mexico, mounted the lighting stands on wheels, equipped them with batteries, and chose to use only practical lights for this sequence, with plenty of illumination. The last night wasn’t as contrasty; there weren’t those highlights that make the blacks appear black and colors stand out due to the bright lights in the scene.
LACHMAN believes that every discussion revolves around the psychological authenticity, regardless of the film’s style. The goal is for viewers to find the image believable. Furthermore, Lachman emphasizes the importance of understanding that as cinematographers, we are not merely camera operators, but another actor. We deliver a performance alongside the actors, through the use of lighting, camera movement, and our own movements with the camera. This enhances the emotions portrayed in the story, which is often overlooked when discussing the impact of movement. Essentially, just as acting involves action and reaction, what cinematographers do is another layer of interaction with both images and performances.
Technology continues to evolve at a rapid pace. I’ve noticed that some of you are incorporating these advancements in your 2024 films, such as the innovative lens developed for Wicked by Panavision. How do you all keep up-to-date with the latest technological breakthroughs?
In my free time off the film set, I frequently hang out at camera houses, experimenting with various lenses and organizing them based on the emotional impact they create. This way, when brainstorming for a new project, I have a broader range of creative ideas to draw from. I’m constantly seeking unique visuals and the equipment that can help bring those unseen images to life.
GUILHAUME Short films, music clips, and advertisements offer an ideal platform for testing out innovative technologies.
JASON The technology I use is not meant to take the place of the stories we should share; instead, it’s those stories that truly matter to me.
BROOKS You communicate with suppliers. NANLUX provided us with preliminary light fixtures for the film “Wicked”, which weren’t fully developed at the time, and are now their products. It’s crucial to maintain supplier relationships and stay informed about upcoming releases. I currently have contact with around seven different suppliers who have reached out asking if they can send me samples for testing. This is an advantageous position, especially with a major film project on the horizon, as there is a lot of enthusiasm and eagerness among professionals to collaborate. … Panavision has been a long-standing relationship. … [In the past] I couldn’t secure a job. I had recently become a parent, and an agent told me that I was too old to ever succeed in cinematography. After traveling to L.A., these individuals expressed interest in meeting with me. We met, and they informed me that they wanted to tell me I was too old. At the time, I was 35! I was at a very low point, and Kim Snyder, who is now the president of Panavision, consistently encouraged me by saying, “success will come. Just stay focused.” This relationship has always been strong with Panavision. Therefore, as soon as I knew I would be working on “Wicked”, I contacted Panavision six months in advance. I looked at some cameras at the time, but Dan Sasaki [Vice President of Optical Engineering at Panavison] had an idea for a new lens. I couldn’t disclose what film I was working on, so I showed him my visual style reference book, and we began discussing color, image, feeling, and emotion. He suggested making one, and we could then adjust it to suit my preferences. So he made one, and it was a 35 millimeter lens, which I tested first. We had initially planned to shoot on the Alexa Mini, but we re-tested all the cameras because there were also new ones available. When we projected the test at Company 3, Jon and I looked at each other and said, “we’re going to shoot on the Alexa 65,” but the lens he was developing didn’t cover that sensor. So I contacted Panavision and asked if they could create a lens for the Alexa 65. They replied that it wasn’t feasible on my timeline. I began testing other lenses, but the ones he developed were exactly what I had envisioned in my mind. We delayed the project by six months, and when we pushed back, I contacted him again and asked if they could create the lens for the Alexa 65 now. He agreed, and they are now known as Ultra Panatar II, but we called them the Unlimiteds on our film because they didn’t have a name at the time. The ones they created for us are not like the ones they mass produce, and no one has touched them since. They are currently stored in London. We possess three sets. No one will use them until we complete the second film.
PARAPHRASING: It seems like every month brings a fresh wave of innovations that alter the landscape somewhat, and it can be challenging when engaged in prolonged projects, especially when you’ve committed to a particular camera-lens setup, lighting system, and so on. Often, upon completing such projects, one finds that the world has evolved slightly from when the project began. New equipment, brands, ideas, and concepts are introduced. Therefore, it’s crucial to keep abreast of these developments. I make an effort to test as much as possible, even while we’re still in production, particularly with regard to 3D gaming engine technology, which I’ve been using for years, starting from the early days of The Mandalorian, up until today where I utilize Unreal Engine for solving technical issues. We can now accomplish tasks that used to take 20 times longer in just a fraction of that time with Unreal Engine.
Is the film industry’s cinematography landscape predominantly white male, as suggested by Oscar nominations with only three women and three Black individuals ever nominated, and no woman or Black person having won yet? Do you observe any indications that it is becoming more diverse and inclusive?
In much the same way, every ecosystem flourishes most when faced with challenges, as these situations foster innovation. As a filmmaker and a cinema enthusiast, I’ve always yearned for movies that inspire me by offering fresh perspectives on the world. They motivate me to reconsider my own approach to life, encouraging me to adopt diverse viewpoints. Movies serve as a shared platform where we can dream collectively; the more dreams and dreamers involved, the greater the impact and power of our collective cinematic artistry.
AS A PASSIONATE CINEMA ENTHUSIAST, I’M MOST FAMILIAR WITH THE FRENCH CINEMA SCENE. In France, cinema schools hold significant influence. Unfortunately, inequalities seed early, with a striking tendency to perpetuate the same student demographic year after year. Some institutions make concerted efforts towards equal admission processes, resulting in a slightly more diverse cohort of Directors of Photography (DPs). However, large-budget films continue to be predominantly helmed by white males. It’s disheartening to observe that as the financial stakes rise, diversity and equality seem to wane among directors and producers, almost as if they are reluctant to deviate from the norm.
I may not be able to explain the reasons behind it, but I can certainly express my appreciation for the exceptional skill demonstrated by numerous female and black cinematographers whose work I greatly admire. Among them are Maryse Alberti, Alice, Ernest Dickerson, Chayse Irvin, Kira Kelly, Shabier Kirshner, Ellen Kuras, Kirsten Johnson, Tommy Maddox-Upshaw, Rachel Morrison, Mandy Walker, Ari Wegner, and Bradford Young. Their projects have touched me deeply and contributed significantly to our field.>
BROOKS (PARAPHRASING) In the past year, an article in The New York Times reported that the lowest female representation was found within the cinematography branch of the academy. When I initially joined the American Society of Cinematographers as a film student, there were only five women members. Now, I am the 20th female member, out of a total of 415. This is unbelievably low, considering the vast number of exceptionally talented women in the field. I believe it’s crucial to make a firm commitment to ensure that women are being hired for major film projects. For instance, I was not considered for the cinematography role in the movie ‘Wicked’. The producer, Marc Platt, had not seen my work in ‘In The Heights’ or ‘Tick, Tick… Boom!’, with whom I had established a rapport. However, I think it’s essential to have more storytellers and filmmakers who are open to hiring diverse talent. Jon Mchale is one such director who values diversity, and I believe there should be more conscious efforts to promote this, as otherwise, we risk remaining static and not progressing further.
Originally published in a special December edition of The Hollywood Reporter magazine, you can access this magazine by clicking here to subscribe.
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2024-12-12 01:28