Back in 1 995 you started working with who would become one of the greatest film directors and auteurs ever, David Fincher. However, by the time his only film was the infamous Alien 3- what was it like to work with him back then and did that experience influence you in any way? I started much earlier. I worked on many of his music videos from Madonna, Paula Abdul, Aerosmith etc. I was mainly in the lighting department. Also, I never worked on Alien 3. I gaffed reshoots on Seven and the first movie I fully gaffed for him was The Game. Fincher is a very strong director and very specific about what he wants. Fincher did give me a huge opportunity; without which I may not have had the career I’ m experiencing today. I’ m grateful to him. The first spot I did was a Nike commercial, which led to a lot more work in commercials and music videos with other great directors.
Many DP usually come from a photography background- was this your case or did you actually went from the lighting department to Cinematography? I really had no aspirations to become a DP. I had a girlfriend who wasn’ t very happy to be dating a gaffer and she insisted I upgrade. Contrary to most people I meet in Hollywood, I was always happy with whatever job I was doing. I started as a stage manager when I was twenty years old because I had a friend who kept coming late to that stage managing job and got fired, but somehow got me hired. I loved that job. I have always been really happy in each department. Happy electrician, happy best boy and happy gaffer. I often see really unhappy assistants or people who don’ t seem to be loving the process and want to be a director�yesterday. In all of my jobs, someone asked if I would try a new position and I said“ yes.” I said“ yes” all the way to becoming a DP. I think I’ ve had a lot of luck and grace in my career.
How did your time as a gaffer have influence your work as a Cinematographer? I am obsessive about lighting. I love lighting and can’ t give up the control on that aspect of my job. I am always looking at unique ways to create a look. When I first get a job, commercial or film, I start by seeing it in my mind. I think in pictures. My years on set in different capacities are an invaluable film school. I was trained on sets, not at any school.
Would you recommend anyone looking to enter the industry as a DP to first educate( and even work) on the lighting department first or that ' s rather optional? Lighting is so critical and in some ways becoming a lost art. I would go so far as to say if you don’ t know how to light, or understand composition, you’ re hardly a DP. Cameras can now shoot almost in any light, but just because you can shoot it that way does not mean you should. You should have the ability to craft the light for the scene vs just expose it.
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Moving on, you got your first real work as a Cinematographer in The Curiou
nomination for it. For me, those ideas were for someone else. I neve dreamed that big. I have a life today beyond anything I imagined for myse as a child. I have gaffed for really great cinematographers( DariuszWolsk Jeff Cronenweth, Dan Mindel and the late Harris Savides). One fewer yese in my career advancement and I would still be working for them� and loving
Case of
Benjamin
Button
- an amazing work by the way.
Something
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awesome just happened then, you got your first nomination for an Oscar |
what did that feel for you? |
It felt surreal. |
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never imagined |
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every minute. |
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Did you ever thought this big nomination will ever repeat? Did you eve expect to be nominated once again( and win) for the Life of Pi? Life of Pi was a surprise to me. I was honored to work with Ang Lee for tha film. I really thought that Deakins would win for Skyfall. Before the win, I wa just happy to be nominated, but never imagined a win.
How did your previous work on Tron: Legacy, a mostly computer-generate film, helped you understand this other CGI film( Pi)? Many of the backgrounds in Tron were obviously CG, but there were als many physical sets in Tron. Safe House was one of the most beautiful sets have worked on. My job was to light the sets and talent with the story world i mind. I worked closely with VFX. I had to. We had to. From director t production design to costumes to props... we all had to work together t create a seamless image. As a DP, I am in charge of giving the director th look of the film as he or she sees it, along with my input. I have a very stron opinion that DPs are hurting themselves if they just turn this part of the jo over to VFX without creative input.
I am very curious on how does a DP actually do his job in a mostly Gree Screen project? Just as the actor do you have to picture yourself the whol imagery? Do you work closely with the Visual Effects department more rathe than the gaffers?