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
