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.
