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CHAPTER 1

THE DIRECTOR AND CINEMATOGRAPHER: CREATIVE COLLABORATORS

Cinematographers have to be able to work with a variety of personalities. Ideally you hope to work with someone who really knows what they want so you can work with a director without imposing something on them that they don’t understand or might be unhappy with later.

(Robert Elswit, Frost interview)

The director is the visionary who takes the cast and crew on their creative journey toward the completion of a film. It is their interpretation of the script that will usually be seen on the screen. Directors tell their stories with images, and it is their intention to manipulate the emotions of the audience and capture their attention and imagination for two or three hours. This escapist trip could be into another time and place, another galaxy, a nightmarish world, or into the lives of people undergoing dramatic transformations. With a good script, the director will make the audience feel fear or suspense, or make them laugh or cry. The director creates an artistic whole from the actors’ performances, the selection of shots for editing, and the overall look of the film.

But a director does not work alone to construct the images we watch on the screen. They have many talented people helping them achieve their creative vision, and one of the closest of collaborators is the person who is the creator of the look of the film through lighting and camera work — the cinematographer, also known as the director of photography (DP).

The relationship between a director and cinematographer has been compared to a marriage. Theirs is a very close bond based on trust and mutual respect, although there can, of course, be disagreements from time to time. Because communication is key in any relationship, the better the cinematographer knows the director’s intentions, the better they will to be able to help him or her. But if a director throws the cinematographer a curve and goes in a completely different direction from what the two of them have previously agreed, discussion and compromise may be needed. Differences between them may also spring from the inherently different perspectives of their two roles, because a cinematographer will focus on the technical and aesthetic interpretation of the concepts a director envisions, looking toward the completed project and getting all the elements needed to make sure it all fits together. A director may or may not focus on technical and aesthetic questions.

The cinematographer is a very important player in the creation of a film. She or he is the eye behind the lens, the one who takes concepts and makes illusions of reality almost palpable on the screen. So it is important that the director and cinematographer work in close collaboration throughout the process to bring the director’s vision to the screen.

But how does a creative collaboration of this magnitude begin? Usually it begins with director and DP getting to know each other by talking, “hanging out,” screening films together, and sharing various books, images, music, and DVDs. This communication begins before production and continues through postproduction. At this stage of the relationship, the director may be most concerned with how to convey the guiding concepts and vision of the film, and to figure out the best ways to convey those ideas to the DP. The cinematographer will be focused on getting to know the director’s tastes. It is also important for a director to understand the role of the cinematographer and how the DP’s mind works as they try to translate the director’s concepts into tangible images.

What does a cinematographer want from a director?

■ I could list a number of different things, from how unique their perspective is to what they want to say and how they want to say it. But being prepared is key for me, because when a director is not prepared it means they haven’t really thought about what they want to do or say with the film.

(Ellen Kuras, Frost interview)

1. Ellen Kuras, ASC (Photo courtesy Ellen Kuras, ASC)

■ I like when people have a sense of humor, because when they are rough and tumble it’s really not fun making a film. I like director’s who can think fast. I really admire intelligence and also somebody with an unexpected take on things, people who don’t rely on formula.

(Seamus McGarvey, Frost interview)

2. Seamus McGarvey (Photo courtesy Seamus McGarvey)

■ For me the most important thing is passion. A director who is not passionate about his project turns me off. That means sometimes I work with directors who will really challenge me and the crew, we will work long hours, and it’s tough, but I much prefer that to someone who just wants to get it done in a reasonable amount of time and go home. Just to get it in the can.

(Rodrigo Prieto, Frost interview)

3. Rodrigo Prieto (Photo courtesy of Rodrigo Prieto)

■ Ideally what a cinematographer is looking for is a partner in making the film. If they are a writer/director, they should have a vision, so for me it’s about getting that vision out of them.

(Matthew Libatique, ASC, Frost interview)

4. Matthew Libatique (Photo courtesy of Matthew Libatique)

■ I definitely like a strong director, somebody who knows what they want visually and thematically. I like enthusiasm and passion. It also helps to really like the director and that we have a connection.

(Mike Bonvillain, Frost interview)

■ I appreciate a director who either sees something in my work or sees something in me that they feel is going to help them to express their vision, someone who can trust me. I’ve always enjoyed directors who love actors, who love getting wonderful performances out of actors.

(Sandi Sissel, Frost interview)

5. Sandi Sissel, ASC (Photo courtesy of Sandi Sissel)

■ I like a director with clarity of vision. With Joel and Ethan (Coen) obviously I know them very well; it’s been a longtime relationship. It’s a happy working relationship. I like their focus, I like the low-key nature in which they approach a project. It’s very matter of fact; there are no egos on the set. Everybody is doing their best to make that particular picture as good as it can be.

(Roger Deakins, Frost interview)

6. Roger Deakins (photo by Andy Harris, courtesy of Roger Deakins)

What makes a creative collaboration?

■ I want to provide the director with a place in which to do his job with the words and the actors. The essence of cinematography is that partnership with the director, together you become this team to bring the story to life. As a cinematographer, I like to create for the director a safe performance base within which to work. I may be augmenting with color choices, composition, camera movement, lighting, all in collaboration with the production designer, but basically, when it all comes right down to it, I want to provide the director with a place in which to do his job with the words and the actors.

(Amy Vincent, Frost interview)

7. Amy Vincent (Photo courtesy of Amy Vincent)

Making a film is the merging of numerous creative entities into one strong unit. That means uniting the key players involved in all three stages of production. The producer has gotten the script green lit and financed and is influential in the hiring of each creative force behind the project including the director. From the production designer to the wardrobe coordinator, each professional involved in the project has their own specific tasks to attend to and they have visually interpreted the script with a focus on their particular area of expertise. But the unifying process starts with the director, the creative visionary that everyone else looks towards for guidance and leadership.

The cinematographer’s job is to capture the images that the production designer has created and the actors inhabit. Often the production designer works with the director prior to the cinematographer being hired to discuss the sets and locations. Once the cinematographer is involved with the project, communication between the director, production designer, and cinematographer is key. The color of the sets and the wardrobe affect the lighting the look of the film. Such collaborations begin during preproduction and are maintained during production.

■ Every director is different in terms of how involved they are in the various aspects of making the film, and what they want to do. Tim (Burton) has a unique voice. I’ve been doing this for some time now, and that’s the type of director I’m seeking out. I want to be inspired. I can only go so far by myself. I’ve worked with directors where you’re doing most of the visual work, but you want to be challenged and taken places where you’re creating stuff that’s original.

(Ben Davis, BSC, American Cinematographer magazine, April 2019, 34)

During production, the crew — including the first assistant director, the camera assistants, gaffers, grips, script supervisors, sound mixer, boom operator, prop masters, wardrobe, and hair and production assistants — all have important roles to play on set. Fulfilling their positions is vital to the film being completed on time and on budget. But there is a hierarchy to the crew dynamic that must be adhered to if all is to run smoothly, and there are several above-the-line players who are the creative forces behind a motion picture film.

■ This is a business that can easily allow someone to fall into the ego trip of thinking they are better than everyone else just because they are the designated leader of the group. I like to think that everyone works together as a family. Yes, there is a hierarchy involved and people have to be leaders, but everyone treats everyone else with respect, whether you are a PA or a driver or the director.

(Ellen Kuras, ASC, Frost interview)

THE DIRECTOR

Many directors have become familiar names such as Steven Spielberg, Christopher Nolan, James Cameron, Ridley Scott, Francis Ford Coppola, George Lucas, Oliver Stone, Martin Scorsese, Tim Burton, Ron Howard, Quentin Tarantino, the Coen Brothers, Ang Lee, Spike Lee, Nancy Meyers, Michael Mann, Wes Anderson, Woody Allen, and the “master of suspense” Alfred Hitchcock, just to name a few.

They are essentially the star creative entity in a film production, along with the celebrity talent. The director’s name stands alone either as the last credit before the film begins or the first credit when the film ends.

The director is ultimately responsible for the storytelling aspects of the film, through the actors’ performances to the selection of shots and compositions. As the main person associated with the style and content of the film, the director has to maintain the artistic integrity and clarity of vision when making final decisions on the screenplay. The director, who also has a decisive role in the selection of cast and crew, should create a collaborative relationship with the cinematographer and production designer, with all three in accord about the visual look of the film. The director also manages numerous other aspects of production, including supervising visual effects and exercising the right of first cut in editing. But most importantly, the director must have a vision of the finished film before it has been photographed and must also understand how all the individual aspects of production will effectively communicate the story to the audience.

During preproduction the producer is very involved with the project, having developed the idea, hired the writer, created the package, acquired financing, and hired the director. The producer is an especially powerful force at this point in the production and remains involved from the inception of the concept until the film has been distributed. During production the producer may or may not be on set, but they have selected a director whom they trust to bring the written word to life through the actors and the camera.

On set the director must delegate tasks and trust in the abilities of their crew. She or he maintains the pace of the set, meets the schedule, and has a whole crew of people waiting to hear what they have to say. For a director who has bonded with their cinematographer, they do not face the actors and crew alone. They have an ally in the cinematographer in capturing their vision.

■ Every day on set the director is faced with endless decisions about everything and making the right ones can be really difficult. (Tony) Gilroy once told me that is one of the most difficult things a director has to know is when to say, “That’s all I need from this setup; let’s go on to the next.” That is the scariest moment for him because he knows he’s never going to get back there again.

(Robert Elswit, ASC, Frost interview)

■ A good director is open to ideas. I like an interesting, creative person who can relate to actors. As a cinematographer, you don’t want to build a bridge to the actors; they are the director’s responsibility. I really love when there is that exchange between me and a director, when the director can be honest and direct and say, “Look, I don’t like that — but I like that,” and I can show things to them and they are honest about it instead of feeling either intimidated by what you are doing or afraid to say, “Look, that doesn’t fit with my vision.”

(Seamus McGarvey, Frost interview)

■ During preproduction, I really like to get into the director’s head and try to see what they’re thinking. Sometimes it’s a tricky collaboration because my job is not just about how the film looks, it’s also about making sure I’m communicating visually what the director intended because in the end it’s still the director’s film. I just try to just remain the partner. I’ve worked with a lot of first-time directors, and those collaborations can be really wonderful because they don’t necessarily know all the rules. They break them and challenge me to look at my own practices and beliefs, which shakes me up a little. They’ll ask things, and then you don’t want to say “no,” so instead you say, “Well, let’s figure out how we would do this.” So it can be exciting.

(Nancy Schreiber, Frost interview)

8. Nancy Schreiber, ASC (Photo courtesy of Nancy Schreiber, ASC)

■ It’s different with each director. With some directors, I will spend a lot of time with them to go over the script in a lot of detail and talk about it. Even if we’re totally wrong, to just sit down for a week and say, “This is the scene. How should we do it? How would we tell this information?” But in that situation, we are normally not on set, and usually at a dining room table just hashing it out. I love doing that, because in our heads we’ve kind of gone through it once, so I’ll walk onto a set understanding what that scene is. I think any preparedness that you have on a film is just money in the bank. It helps you get through without bankrupting the bank of time. All movies take on their own tone and life.

(Harris Savides, Frost interview)

During production, the director is in charge of the set and ultimately maintains the pace of the day with the aid of the first assistant director. A director should come to the set prepared and on time with shot lists, storyboards, and a clear idea of how they want to cover the scenes of the day. To make sure the coverage they are shooting works for editing, the director can previsualize it, either alone through storyboarding or working with the cinematographer. The director should be able to visualize the entire film completed in his or her mind before turning on a camera, to ensure that they will shoot all the footage necessary to tell the story the way they intend it to be seen on screen.

■ If the cinematographer is the captain of the ship, then the director is the admiral of the navy. He’s got an enormous responsibility and needs to take it very seriously.

(Richard Crudo, ASC, Frost interview, July 2007)

The director will be the first person praised if the film is successful or the first to be attacked by critics if it is not. The pressure is on during production with all the questions aimed at the director regarding various details of the film. Each department head will come to the director with their own set of questions. The wardrobe department, the art department, the first AD, the actors, and, of course, the cinematographer, who will want to know where to put the camera so that the gaffer and crew can start lighting. Because the number of questions can be overwhelming at times, the director often relies on the support and confirmation of their collaborators. Usually the first person they will look to for that support and confirmation is their cinematographer.

■ There are directors, as we know, who are very technical. They go deep into their language and they like shooting film the way they see, and they have an idea where to place the cameras, and that’s a very important communication issue to them, to their audiences. Then there are directors who may only see the story from a storytelling perspective, but with a literal interest, so they rely on the cinematographer much more to help them to devise a visual way of telling the story.

(Dante Spinotti, ASC, Frost interview)

The director should be thinking about each scene and how to cover it, how to handle the actors with a focus on whose scene it is. It is helpful if shot lists have been created in preproduction and a dialogue between director and cinematographer has been previously established so that once you are on set you already know how a scene is going to be shot, such as what focal length of lens will work best and whether it is a moving or static shot. The cinematographer will be there for consultation if needed. They are there to facilitate the visual realization of the script.

■ You have to trust the director and the director has to trust you. If you are in a situation where you feel that the director trusts you, you can take your work further, even if it’s as simple as exposing a shot a little darker. You don’t take those risks with people you don’t know, especially if you are doing a studio production. The last thing you want is to go into a screening room at dailies and have everyone whining because the shot is too dark.

(Roger Deakins, ASC, Moviemaker, July 2007)

The director, as noted, is often focused on the actors, eliciting the best possible performance from them. While the director is rehearsing the blocking of the scene with the talent, the cinematographer is watching for shadows and following the movement of the scene with the camera. Since it is ultimately the director’s vision being transformed to images on screen, she or he may have requested a specific focal length for the shot, which the cinematographer provides. Both are headed for the same completed scene, with the director focused on the performance and the cinematographer focused on the visuals. A smart director will be open to suggestions that a cinematographer may have regarding light, focal length, and movement.

What should a director know about cinematography?

■ It’s so much more exciting when directors understand my world. As a cinematographer it is my job to find out what the director’s strengths and weaknesses are so I can be of service wherever needed. I’ve worked with directors who know focal length and may say, “Let’s use a 35 mm or 27 mm,” and I’ve worked with directors that I have to make look through the lens just to see what’s happening.

(Nancy Schreiber, Frost interview)

There are many directors working today who have limited technical experience in film, particularly those who come from a theatrical background, or writers who have been given the opportunity to direct. Less technically inclined directors will need to learn the basic tools of cinematography to effectively communicate with their cinematographer. It is helpful to have a basic knowledge of focal length and how it affects the image and depth of field. It is also important to have an understanding of composition and framing, what you want the shot to look like, and what information you are providing with that particular shot. The selection of lenses, framing, and blocking for a scene are all things that the cinematographer can assist with.

10. Rodrigo Prieto and Ang Lee on the set of Lust, Caution. (Photo courtesy of Rodrigo Prieto)

■ Ang Lee is very technically savvy. For him the subtlety between a 32 mm and a 28 mm is a big deal, or one filter versus another. He’s very aware of subtle differences. If I show him the difference between one film stock and another, he will see the differences; other directors may not, so sometimes you have to present them with the differences that are bigger. Such is the case with Oliver Stone he is not about subtlety. When you propose something, it has to be bold and he has to see it. When I worked with Julie Taymor, she had a certain language of film, but she wasn’t extremely technically savvy. I think that helped, because she would come up with ideas that were not constrained by traditional limitations. Then I had to figure out technically how to achieve her idea. I tried not to limit her by saying something would be really difficult, so in that case it was to our advantage that she wasn’t aware of limitations.

(Rodrigo Prieto, ASC interview, July 26, 2007)

■ I have worked with technically savvy directors. The more they know about cinematography the better off you are. I shot a film for Ernest Dickerson, who is now a director, and I was worried about it because I thought, “Wow, I’m shooting for an ex-cinematographer; that’s going to be tough.” What I found instead is that he made me more daring in the things I did because he understood all the technical aspects of it. If I was having a problem with depth of field, he would either re-stage it or he’d extenuate it. When working with someone who understands the medium to that extent it’s fantastic.

(Matthew Libatique, ASC, Frost interview)

The first thing a director needs to consider is the blocking of the actors and the composition of the frame. Understanding how the basics of cinematography tell the story by highlighting thematic elements of the script is essential to effective filmmaking. That directly correlates to understanding focal length and the difference between lenses, such as primes versus zooms. It is also important to understand the attributes of depth of field and how that translates to the screen.

■ I enjoy the technical side of filmmaking, but I’m only able to enjoy it because I have true technicians with me. I actually learned a lot of what I know by reading American Cinematographer magazine. Some of the articles could get a bit technical, but that just made me want to learn more. I’m still a bit of a Luddite, though, and I probably think I know a bit more than I do.

(Paul Thomas Anderson, director, American Cinematographer, January 2008, 39)

A director also has to know whether the image is moving or static and what is being communicated to the audience by that movement or lack of movement. Understanding the types of moves and the equipment to accomplish those moves is also quite important. The difference between the movement of the Steadicam and the movement of a handheld camera or dolly conveys very different visual information and emotional effect.

A director should consider what the visual palette of the film is: what they are saying to the audience about the characters and their environment through the use of color. It is also helpful to understand the basic look of the light and how it, too, underscores the theme of the film’s story. Some lighting decisions may be largely determined by the genre of the film (such as comedies tending to be bright and free of shadows). See more on genre in Chapter 6. But many other options are possible: soft quality light, harsh light, a bright soft image, or a shadow-filled light etched with grain. We will take up each of these qualities individually and in detail in later chapters.

Fundamentals of cinematography that a director should know:

Focal length and lenses: Learn how to work with a director’s viewfinder or at least learn to use the camera as your viewfinder to check compositions and lighting. You don’t have to call the numbers of lenses, but know basically what type of shot you want — long shot, medium shot, or close-up (LS, MS, CU) — and where you want it.

Blocking shots and the equipment necessary to move the camera: Is it a dolly move, a Steadicam move, a handheld move, a crane move, or a tracking move? Understand the aesthetic differences between them.

Visual palette: In what color or colors do you see your film? Is it warm or cool, amber or blue? Understand why you are selecting a specific visual palette. What do the hues and gradients say about the film or the characters?

The basics of lighting: whether to choose high- or low-key lighting, soft or hard lighting. Is the film dark and moody, or bright and cheerful?

Film history: A director should also know movies, past and present. Knowledge of film history, genres, and styles, and the work of other directors is essential.

Knowing these basic matters will make communication with the cinematographer more effective and also help the cinematographer do his or her job better. If they know what the director wants, they can make suggestions based on their technical knowledge and experience. Just as directors may profit from knowing some film technique, DP’s need to know something about directing, such as where to put the camera and what the director is trying to say with a particular shot. It is also helpful if the cinematographer knows something about the actors’ profession, so that the technical aspects of the DP’s craft enhances the film’s performances.

THE CINEMATOGRAPHER

■ We are not directing … we are writing with light and motion to tell a story. That distinction is very important.

(Vittorio Storaro, ASC, American Cinematographer, June 1998)

A cinematographer is not the director of the material but the rather the visual interpreter. Through images, light, and movement, the thematic elements of the story are amplified. Behind the lens the cinematographer observes the actor’s performance, but does not provide feedback to an actor, that is the job of the director exclusively: to elicit, nurture, and guide the performance. The cinematographer is there to be reassuring that it was all captured for the screen.

Cinematographers have not yet become familiar household names, but there are many in the ASC that are considered “masters” in their craft and all are members of the ASC (American Society of Cinematographers): Vittorio Storaro, John Seale, Roger Deakins, John Toll, Michael Chapman, Janusz Kaminski, John Bailey, Stephen Burum, Owen Roizman, Robert Richardson, Tak Fujimoto, Rodrigo Prieto, Ellen Kuras, Michael Ballhaus, Matthew Libatique, Seamus McGarvey, Dante Spinotti, Emmanuel Lubezki, Nancy Schreiber, and many others.

Emerging cinematographers may have been inspired by the work of a particular cinematographer. Therefore, it is helpful to know the styles of some of the master cinematographers who may have inspired or influenced the cinematographer you are working with.

■ In my mind once a cinematographer starts working on a film and begins a collaboration with a director, they should never actually stop being a part of that film — ever.… Other than the director, they’re the only people on a film directly involved with the visual content throughout the entire production process. They essentially are the eyes of the film.

(John Toll, ASC)

■ The DP (cinematographer) is about composition, light, and movement, and collaborates with the director to capture the mood and put it on screen.

(Owen Roizman, ASC)

To better understand the work of the cinematographer, we can look to the ASC, the American Society of Cinematographers, an elite group whose members have been invited into the society by their peers based on their body of work. Today there are approximately 340 members in the ASC, which is “an educational, cultural, and professional organization” dedicated to education and mentoring. The society’s mission is to “advance the art of cinematography through artistry and technological progress, to exchange ideas and to cement a closer relationship among cinematographers.” (American Cinematographer Manual, Ninth Edition, 7.)

The ASC publishes the American Cinematographer Manual, American Cinematographer magazine, and other books written by its members. The American Cinematographer Manual is the bible for cinematographers, the text that defines the cinematographer’s profession. The Manual describes cinematography this way:

■ Cinematography is a creative and interpretive process that culminates in the authorship of an original work of art rather than the simple recording of a physical event. Cinematography is not a subcategory of photography. Rather, photography is but one craft that the cinematographer uses in addition to other physical, organizational, managerial, interpretive, and image-manipulating techniques to affect one coherent process. These visual images for the cinema, extending from conception and preproduction through postproduction to the ultimate presentation and all processes that may affect these images, are the direct responsibility and interest of the cinematographer. The images that the cinematographer brings to the screen come from the artistic vision, imagination, and skill of the cinematographer as he or she works within a collaborative relationship with fellow artists.

(John Hora, ASC, American Cinematographer Manual, Ninth Edition [Hollywood, California: ASC Press, 2004], 1)

The cinematographer is responsible for the visual interpretation of the film; she or he is the “author” of the images, whereas the director is the “author” of the performances. Basically what that means is that the cinematographer does not direct actors, and the director does not light the set or calculate exposure.

The cinematographer translates the director’s vision into images with a specific mood, through the use of camera placement, focal length, and light. The cinematographer interprets the script into a visual language that speaks to the audience viscerally. If done well, the cinematography underscores the essence of the scene, subtly manipulating the audience’s emotional response to the film and enhancing the story.

■ The story is always the most important aspect of my work, and it always leads me to find the visual style that works for a given movie. Sometimes cinematographers get caught up in doing lighting that looks nice but doesn’t reflect the story. For me, finding a visual approach that’s relevant to the story is the part of my work that’s the most fun.

(Janusz Kaminski, ASC, American Cinematographer, July 2004)

The cinematographer is the main person on set who can make the vision in the director’s mind come to life. It is always best for the director to have a plan, either shot-listed or storyboarded, but the director should also be open to creative suggestions from the cinematographer that may occur spontaneously while shooting — the cinematographer may see additional angles or shots that would enhance the scene.

■ Every shot has to be organic with what the director and production designer are trying to do. On the set I try to attune myself to what the director is feeling. You have to learn to read the director’s body language, because sometimes it’s difficult to express with words what he wants from the lighting or framing or camera movement. You also have to be a little bit of a psychologist to know how and when to sell your ideas to the director.

(Rodrigo Prieto, ASC, Moviemaker, July 2005, 74)

■ Every film is different, set in a different geographical location—a different period of time, and each film should be approached with a collaborative effort with the director to create the look that he/she has in their mind’s eye. There are a million little things that you can observe from what the director and production designer have been talking about, what they have found, and where they feel that the scene should be set. You can clearly see what the director is trying to get to and I think it’s imperative that the cameraman does that, because if you blaze into something and you’ve got your own ideas and you’re fairly adamant about those ideas, then you’re not serving the needs of the director. The cinematographer has to jump on the director’s bandwagon—the director doesn’t jump on ours.

(John Seale, ASC, Frost interview) 9. John Seale (courtesy of Brook Rushton)

9. John Seale (courtesy of Brook Rushton)

SELECTING A CINEMATOGRAPHER

Many directors choose a cinematographer in the same way that they would cast an actor. A director will often screen a reel or several films shot by a prospective cinematographer to see if the visual style meshes with their personal vision. In considering new or up-and-coming cinematographers, directors, and producers will screen reels looking for a visual style or unity in the work as well as camera movement and composition. A good cinematographer can light any situation, but some DP’s get known for a particular style. For example, Daniel Pearl has become known for his work on horror films because of his success with Texas Chainsaw Massacre. Gordon Willis, after shooting The Godfather (Parts 1 and 2), with its use of top light and warm sepia hues, became known as “the prince of darkness” because of his skill working with low-light images.

I spoke with veteran director Donald Petrie, DGA, in December 2006 in Santa Monica. He is known for directing romantic comedies such as How to Lose a Guy in 10 Days, Miss Congeniality, Mystic Pizza, Grumpy Old Men, Welcome to Mooseport, Just My Luck, numerous television programs, and his most recent film, My Life in Ruins.

How involved are you in the selection of the cinematographer?

■ Completely involved. It’s really my choice. I don’t think I’ve ever been told I have to use a certain cinematographer; it’s part of the director’s job to choose the cinematographer. There was one time when I took over a movie (Miss Congeniality) that was already in preproduction. The studio told me, “We’ve hired László Kovács; is that okay?” (Laughs.) Sure, that’s okay! That’s one where, although I hadn’t chosen the cinematographer myself, we’d met over the years and always wanted to work together.

What characteristics do you look for when selecting a cinematographer?

■ I look for a lot of the same things that I look for in anyone working on a movie, be it an actor, electrician, costume designer: I want someone who is going to bring something to the party, someone who will have creative input and ideas. I will always come to the set prepared with what I want, and I’m just waiting for someone to show me a better way.

What about in terms of personality?

■ Vibe is a lot; you’re going to be working very closely with this person a third of a year and you rely on that person very heavily. Call other directors and ask how this person likes to work. I want someone as passionate about the script as I am. You have to judge the person and what they are going to bring to the project.

Besides the other qualities a director looks for when selecting a cinematographer, intuitive factors also come into play. Because the director and cinematographer will be working together for the next three months, six days a week, twelve to fifteen hours a day under highly stressful conditions, it is important for personalities to be congenial. The cinematographer is the person the director leans on during production, the one the director will turn to or confide in if she or he strays off track. The cinematographer is there to help put the director back on course.

After viewing a cinematographer’s reel, the director will send the cinematographer the script, so they can see if the material inspires them or if they feel they can add to it with their photography. Once the cinematographer has read the script, the director and prospective cinematographer will have the important face-to-face meeting to see if their personalities are compatible and if they share the same vision for the project. The cinematographer will generally listen to what the director is looking for before they start commenting on the script. This is usually not a technical conversation but focused on the thematic concepts in broad strokes. Understanding the underlying theme of the film can lead to a visual interpretation.

■ I’m very attracted to a first-time director that by definition is the author of the script and has a clear vision into the material because they have created it. For me that’s the most compelling thing. I don’t necessarily expect anything more of a first-time director than an understanding of the screenplay, the characters, the development, the intertwining of the relationships, the evolution of the relationships, and finally how it resolves itself. That’s everything and it’s a lot. If I’m meeting with a director who has written a screenplay and doesn’t really know what it’s about, which seems impossible but isn’t, or can’t articulate it, then it’s a much easier pass for me.

(John Bailey, ASC, Frost interview)

As a director selecting a cinematographer, it is important to talk to them about what you want and what you envision and then ask questions, such as how your visuals can be accomplished cinematographically. If the cinematographer understands and likes the script, they will have thought about how they can enhance the script with visual images.

■ Oftentimes I’ve gone to a DP with visuals, pictures from magazines, but more often than not DP’s have come to me with kind of a book they have put together from pictures ripped from magazines of how they think the film should look. It helps a lot — then I can say, hate it, love it, etc.

(Donald Petrie, director, Frost interview, December 2006)

10. Donald Petrie, photo courtesy Donald Petrie

Everyone who gets a copy of the script looks for specific things. Actors mark a script for performance and how much dialogue they have; directors mark the script for shots and blocking. The cinematographer will be looking for how many night shots there are, how much movement is in the film, whether it is a location or studio shoot, how many special effects are needed, and how they emotionally respond to the material. The cinematographer will have visual ideas regarding composition, too, but with the understanding that the director may already have storyboarded the entire film with compositional ideas.

■ If I like the story and my imagination is piqued by it then great, I know that I can do something interesting photographically. Of course, I also have to meet the director, and it’s important that we have a good rapport because films are pretty high-octane places and tempers can rise. So I think if you meet a director that you know you can go through the fire with, survive, and still be friends at the end of it that’s the right person to work with.

(Seamus McGarvey, Frost interview)

There are some cinematographers who like to operate their own cameras, because they feel more connected to the actors and to the action. That also eliminates one step of communication, so that the director is talking to both the cinematographer and operator at the same time. Others feel it is better to allow an operator to focus on the action while the cinematographer focuses on the light. Be prepared for both schools of thought and decide which you prefer. A cinematographer who is also operating will be behind the camera and not with the director watching the monitor for shadows. The Union, I.A.T.S.E. Local 600, does stipulate between the two positions quite clearly: the director of photography is the first in command of the camera and lighting crew; the operator is the second.

■ I love to operate the camera.… When you are close with the director, you know what they want photographically, but also the emotion of the camera, how it shoots the actors.

(John Seale, ASC, Frost interview, October 2007)

■ I think the main reason I operate when I can, although I don’t always, is to see the performance. I do get involved when I am looking through the camera and the actors are feeling these emotions. I will get emotional, too; several times I have cried on camera. You get the front seat of the best performances of the best actors in the world and you are right there, best seat in the house — it is really amazing.

(Rodrigo Prieto, ASC, Frost interview, July 2007)

■ I love handheld, I’m good at it. I love having the earpiece in and hearing the dialogue and following the action, just going with the flow because you feel connected with the scene that way. I get a real buzz out of that and so I miss it when someone else is operating.

(Seamus McGarvey, Frost interview)

■ The DP (director of photography) watches the light and the actor, the operator watches four corners of the frame, and not operating allows you to focus on the light and the actors’ faces.

(Owen Roizman, ASC, Frost notes, ASC workshop, ASC clubhouse, Hollywood, California, 2006)

■ For me, two things about a cameraman are fundamental. The first is that he shall be technically absolutely perfect, and at the same time first-class on lighting. The second (is) that he must be first-class at operating his own camera. I don’t want any camera operators on my films. The cameraman and I come to an agreement about what is to be included in the image. We also go through everything to do with lighting and atmosphere in advance. And then the cameraman does everything in the way we’ve agreed on.

(Ingmar Bergman, Bergman on Bergman [New York: Simon and Schuster, 1973], 35)

When operating the camera, a cinematographer often becomes connected to the talent through the lens and can begin to anticipate their movements in a scene. It is important for the cinematographer to be in tune with the actor’s performance without letting equipment or technology get in the way. When watching the scene, the director is looking for what they want from an actor, generally the emotional beats and the blocking. The cinematographer is seeing through the lens what the actor is giving the director, and that can be very helpful in making the final decision as to whether or not they “got it.” Most cinematographers will agree that they see their role as “the gatekeeper of the image.”

Some directors know more about the technical aspects of cinematography than others, so they may be more vocal about specifics regarding the cinematography of the film, such as suggestions for lenses or lighting. The few directors who also choose to shoot their own films are working with talented gaffers and camera crew. A director cannot take the time to focus on the lighting and camera movement as well as work with their actors, because these two tasks are usually happening at the same time. A director should be focused on their job, directing. Even experienced cinematographers who cross over into directing, will hand the job of cinematography to someone else.

■ Cinematographers should possess three major qualities: 1. They should be artists, 2. They should be craftspeople, and 3. They should be generals, because when it is time to roll the cameras, it is their responsibility, working with the director, to oversee and coordinate a virtual army of artists, craftspeople, and technicians, and effectively command the technical side of photographing a motion picture.

(The Director of Photography: Definitions, Duties, and Divisions of Work as stated in the Hollywood Basic Agreement, I.A.T.S.E.)

■ As a cinematographer, the greatest challenges and opportunities for me have nothing to do with what people think a cinematographer does: the lighting, the movement of the camera, the composition. It’s really about how to define and interpret that dialogue with the director so that it is both collaboration and a realization of the director’s vision. That’s always a very tricky thing, because as a result of the French New Wave, which obviously my generation was greatly influenced by, we developed this myth that the director by definition has a vision.

(John Bailey, Frost interview)

11. John Bailey, ASC (photo courtesy of John Bailey)

What is the worst kind of director to work with?

■ The runaway egomaniac, the guy who doesn’t know how to collaborate. I’ve worked with guys that were more concerned that we’d be finished by 4 o’clock so they could get in nine holes before it gets dark. “You’re making a movie, you are privileged, brother, and that’s what you’re worried about?” There’s a whole strain of directors who are more worried about the fact that directing a movie will get them a good seat in a hot restaurant or get a date with a model. I tell them, “Fellas, if you shut up, and for the next however many weeks pay attention and do a good job here, they will back up dump trucks full of that shit to your front door, more than you can handle. So put it out of your mind while you are working and try to make a good movie.”

(Richard Crudo, ASC, Frost interview, July 2007)

■ I think the conflict occurs between a director and cinematographer when they don’t agree, and I always ask why. Because I think the cinematographer is really the servant of the director, not in a master-servant way, but in a collaborative way, so that the director can go up to you and say, “So what do you think?” and you bandy it about and end up with a nice balance between the fact that the director is the boss and the cameraman is subservient to that, but there is a nice professional relationship. I would bring in the production designer as well, because there are actually the three of you involved, the director, the cinematographer, and the production designer. The power changes as you move toward production. The production designer starts out as the #1 right-hand man, then the cinematographer comes in and starts shooting the film, and he becomes the #1 right-hand man. The production designer drifts back a bit until the film is finished, and the cinematographer joins the production designer and the editor when the pickups are being done. So the director has all the sergeant majors to help him make the film that he wants to make. I don’t think that the cinematographer should be any more powerful in his demands or in his contributions than the production designer, or the editor, or the soundperson, wardrobe designer, etc. We are all little cogs flying around this great big center, the director, who is boss. We are all spinning around trying to make that one film.

(John Seale, ASC, Frost interview, October 2007)

DIRECTOR’S CHECKLIST FOR SELECTING A CINEMATOGRAPHER

1. View their reel so you know what kind of films they have photographed so you can discuss the style of their work.

2. Send the prospective cinematographer the final shooting script.

3. Have a face-to-face meeting to discuss the script and see if you share the same vision for the film. Also take note of how your personalities interact. Do you feel comfortable with this person as your support system on the movie?

4. Talk to a director who has worked with the cinematographer before, to see how fast they work. Would that director work with the cinematographer again?

5. Screen past work, full-length films that either may be similar to what you are planning or applicable to the style of the film you are proposing. You could also screen the cinematographer’s past work with them present to talk about what you would like them to bring to your film, why you have selected them.

6. Discuss with the cinematographer if they like to operate their own cameras and whether they have a crew they usually work with, such as a gaffer, operator, and assistant camera.

7. Talk about visual references that are similar to your project. Share photographs or pictures from magazines that may resemble the look of your film. If paintings are a potential visual reference, visit museums together. If it is a period piece, look at period photographs or postcards to help you select a visual look for your film.

8. Show the cinematographer your storyboards and anything visual you have in mind (such as still photographs and video clips).

9. If there is a great deal of production design for the project, have the cinematographer meet with the production designer to discuss the plans for the sets and colors.

10. Once you hire the cinematographer, let them shoot tests prior to the start of production to make sure you are getting the visual look you desire. Sit down and screen them together. This is also a trial run to see how well you work together before going into production. During this prep time you can test color palette and whether an image will be saturated or desaturated.

11. Visit locations together. The cinematographer will need to consider power sources and what type of lights will best suit the situation. It also gives you the chance to discuss blocking and light while you are on the location. Is time of day a consideration that should be scheduled in?

It is key that you, as the director, know what you are looking for. If you will be open to visual suggestions, make that clear to the cinematographer and listen to their ideas.

Also keep in mind that cinematographer will also be assessing you, the director, and making their own decision about how much they want to work with you!

WHAT A DIRECTOR CAN DO TO PREPARE

Here are some suggestions for new directors to prepare themselves to be a creative collaborator with the cinematographer. The director should have a vision of what the project will be like and have the enthusiasm to share that vision with the cinematographer.

Go to equipment shows such as NAB and CineGear, where you will have the opportunity to see what new technology is available and understand what camera formats are new to the market. Know some of the latest technical resources.

Learn the fundamentals of cinematography: types of lenses, the use of focal length and depth of field; basic lighting styles and qualities of light (hard light, soft light, the color of light). Have an idea of what you want, but remain open to suggestions.

Use visual references that pertain to the look or tone of your film, some of these references can come from paintings of the masters, period photographs, and other films. Spend time with your cinematographer discussing the look and style of your film.

Make your cinematographer your partner. It is important that they feel they are collaborating with the director and that they are respected. This could include doing storyboards together.

In addition, build the relationship, communicate your ideas. Learn to take suggestions or reject them with tact and respect. Collegial communication is important.

Be prepared. Directors should have a good idea of what the film looks like completed in their minds. Storyboards are very helpful for the cinematographer. Remember the cinematographer is the writer in a visual language, perhaps with less exposition but with more effect on mood.

Talk to the cinematographer about thematic elements in the story. The cinematographer thinks visually and may have suggestions as to how to enhance your story cinematically.

Visit locations together with the production designer to discuss the color and visual design of the locations and sets.

Be clear on the relative importance of shots. Don’t waste time torturing the DP on a shot that isn’t important to the story and will probably be cut anyway. Know the limits of what can and should be done.

Make sure you have done your homework and prep in blocking. A good cinematographer will have prepped, too.

Understand how using processes such as desaturation or shifts in color or hue may affect your audience on a visceral level. Screen-test together.

Keep egos in check. The director should do their job, and the cinematographer will do theirs. Crossing the line of responsibilities causes problems. The DP is not there to take over the film but to facilitate the director’s creative vision.

Remember, a good cinematographer will stand with their director. They know that it is the director who hired them, and they are ready to work with the director to achieve the best possible image.

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