VENTS Magazine 73th issue VENTS 73 | Page 4

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 .

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 ?