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[Music]
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outside of the director there's no one
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else on a project who has more impact on
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what the film making approach is going
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to be and what the tone of the
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experience is going to be the pace of
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the of the shooting and the kind of you
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know the the the the the mechanical
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problem solving of getting you know
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getting that getting those moments into
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those Fram lines um and um so you you
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know you have to feel like there's a
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kind of a creative compatibility and if
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there isn't you shouldn't go there
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because that that compatibility is is uh
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is is vital and I think the way you
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determine
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that it you know has to do with um um
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listening to that cinematographer early on
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when you're in that interview process or
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you're just having coffee in a
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conversation talking about other movies
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not movies they've done other films um
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and uh and understanding on a on a kind
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of a basic personal level because
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cinematographers are filmmakers you know
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I mean they're living and breathing it
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uh you know everybody as much as the
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Director is if there is a disconnect
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between what they're seeing and feeling
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well you don't want to talk them into
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your way because even if they do it
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they're not going to fully understand it
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and feel it and you actually want the
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cinematographer to be feeling the movie
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in the same way you want your actors to
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be feeling the scenes you want the
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composer to be
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feeling you know what that music is
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going to be in relation to the movie and
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and you as a director want to fuel your
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way through the movie uh as much as
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apply apply you know your your intellect
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um and and your experience so if there
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is a disconnect I think you need to hear
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it understand it and um you know as much
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as you might love that person's work you
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know find someone else to collaborate
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with I Rely very heavily on
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cinematographers not so much
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to decide what the shots are are
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literally going to be or what the
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coverage is going to be um because I
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also think editorially so it's very very
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important to me to to have the building
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blocks to take into the editing room
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that that that give me confidence and I
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make me believe I'm going to have
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control over the moments the scenes the
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sequences and ultimately the movie um
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but I have learned more from
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cinematographers than probably anyone
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else in the um you know in the in the
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big collaboration of making movies and
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television shows and I I I have some
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cinematographers who I've worked with
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many many
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times but I always cast the movie with
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the cinematographer to the
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cinematographer and vice versa because I
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I want them to bring something of
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themselves uh that that I think is going
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to be additive stimulating for me and um
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and and sort of organic and um
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significant for um for the for the movie
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itself based on their taste their
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aesthetic a lot of it is is uh looking
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at the cinematographers work obviously
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and but those conversations are very
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important and I've never chosen a
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cinematographer without without having a
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script for them to read so they're
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reacting to something tangible um and uh
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um and
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it's it's one of the times when I really
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try to shut up and let them talk as much
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as possible and not say here's what I'm
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thinking um you know I I imagine it
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ought to look this way um I really try
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to you know fold my arms and and do just
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instigate a conversation and hear you
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know what they just naturally see as as
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valid for this project and see if it
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aligns and um usually I mean with the
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people that I've worked with I've never
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had a Hu a big problem with a
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cinematographer
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uh you know we're immediately you know
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we're we're sort of building on each
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other's ideas and and even in that
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conversation and that's when I feel like
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there is going to be an exciting
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collaboration um and uh and yet for me
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it's also important to establish that as
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open as I'm going to be as much as I
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love to discuss and collaborate that uh
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I am going
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to be decisive about ultimately the way
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the scenes are staged and shot uh and uh
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uh because in a liveaction you know film
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or television project the director is
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not only the keeper of the story but he
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is the administrator of the
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resources uh it's not up to the line
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producer it's not up to the assistant
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director at the end of the day it's you
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know it's up to the director to decide
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how long he or she wants to invest in a
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particular scene
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and cinematographer has to know that
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whatever opinion he or she has that they
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have to be they have to be ready to
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follow the lead of the of the
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[Music]
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director very often
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um my ideas are you know greatly
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impacted even shifted based on what the
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cinematographer sees and and and and
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very often they will bring in still
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photographs to back up their their their
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idea or they'll they'll they'll point to
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u a documentary or some some interesting
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TV commercial or Another Movie that that
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we've either seen all seen or or or none
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of us have seen except this you know
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this cinematographer and begin to build
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the case and it opens my mind and when I
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say that I've learned more from
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cinematographers it I I what I probably
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mean is is that they have probably
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influenced me to stretch visually and
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explore um you know the language of
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Cinema in ways that um others have never
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you know never really tried to but the
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cinematographers have U have you know
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have have have always been in very
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inspiring to me Don Peterman was the
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first A-list Academy Award caliber
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cinematographer uh who I worked with uh
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and you know he he had done Flash Dance
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and some very cool Thrillers a lot of
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great commercials and I was lucky enough
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to get him to do Splash very great
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relaxed guy we wound up doing several
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movies together including uh cocoon and
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even some years later uh you How the
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Grinch Stole Christmas visually all
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different but the lesson I learned from
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dawn was to not be too literal about the
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staging don't be afraid to um you know
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adjust to work with a location and to
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work with the light like I remember um a
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scene that I was doing for Splash and it
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needed to be romantic and the scene was
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supposed to take place over uh in this
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sort of portion of this um this this
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fruit and vegetable um market and um
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kind of seedy kind of dark and uh you
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know if you're being literal about the
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staging they should have stopped in this
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one place that was kind of a corner and
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he said you're being too literal this is
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romantic let him exit that shot and then
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let's pick him up over by that doorway
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where we can have some beautiful
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backlight we can shoot him in this great
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silhouetted profile and then when I come
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around on the coverage I can sight them
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I can put a kick in her hair you know
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and and and and let it be beautiful and
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romantic and I was hung up on it because
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I was thinking more like an actor I was
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you know and and literally if the scene
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was supposed to end here in this corner
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why weren't we shooting it in the corner
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it was so liberating and I was so
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excited to see what he meant and to see
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that it actually worked and that I had
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you know let him influence the scene in
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that way and it was it was um you know
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it was the beginning of a of of an
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education for me
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[Music]
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now I've talked to a lot of actors about
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becoming directors
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and and they have great taste they have
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great
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instincts they understand the creative
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problem solving and so much that goes
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into making a scene or a story
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work and they're intimidated by the
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photography and I always say of all of
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all of the areas where you can actually
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trust a collaborator it's that area of
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the
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cinematography I
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said time and time again you know talk
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to the cinematographer about about what
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you want the audience to feel and what
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you
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feel and that
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cinematographer if you know if they're
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great can can you know evoke those
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feelings and they they they know they
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know what lens to use ask them because
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you want to learn all that stuff but
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that in and of itself Photography in and
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of itself is not a barrier to entry for
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new directors it shouldn't be that is
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something that important to understand
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but it is also something that you can
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get a lot of help with early on and you
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can very quickly begin to to grasp it
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and understand the language and learn
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what the various lenses mean16761
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