Cinematography for Directors. Jacqueline Frost
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through or feel it’s dragging a bit, then it may not be something that can hold my interest. Once I finish and close it up, I think to myself, “Would I pay $15 and be able to sit there for two hours and enjoy this film?” Basically, if I say yes to that, I’ll do it. Of all the films I’ve done, it has been because I liked the script. I didn’t do them because of what I was going to gain from it photographically. I don’t care about that; I just want to make good films. If I can sustain a good film with cinematography, that’s great.
(John Seale, ASC, Frost interview, October 2007)
3. Rain Man (photographed by John Seale, ASC)
■ A story that will grab you on some level that has characters or a situation you might find some identification with. It’s as simple as that. Hopefully it is competently written. If you see a script with a lot of typos and misspellings, it’s time to get nervous. Because if they can’t take enough care to get that right if it hasn’t already been flagged in the process, then it is not a good sign about what you might be about to embark upon. But you are always looking for something you can identify with on a certain level, or maybe you want to try something new.
(Richard Crudo, ASC, Frost interview, July 2007)
4. Lust, Caution (photographed by Rodrigo Prieto, ASC)
■ One thing is the challenge; I look for a new challenge. I tend to choose projects that are different than the one I did before. Although it is not so much on purpose, I have to find something in the script that is close to me in some way or close to my heart or something that I’m interested in exploring, almost as if it would be something I would direct as well. So far, I have never chosen a project as a job, it’s always been something I want to participate in for many reasons. The experience of 8 Mile — rap music, Detroit — it was interesting to me, learning about it. Same with Alexander or when I decided to do Lust, Caution in China with Ang Lee. There were other interesting projects to choose from, but choosing that movie was of course the collaboration with Ang Lee and also learning about the Japanese occupation after the war, something I was not aware of. It’s really very interesting because you have to dive into these worlds. So all of those are elements of choice. But mostly it is about my heart telling me this is something I want to do right now.
(Rodrigo Prieto, ASC, Frost interview, July 2007)
When a cinematographer sits down to read the script the second or third time, she or he will start to make notes on whatever visuals they begin to envision, such as a color palette or movement. They may question a scene that takes place in total darkness for three pages and wonder how they will shoot it. If it is well written, all the visual clues will be there to interpret, from the mood of the story to the visual interpretation of words to images.
A cinematographer may envision a specific look for the film: Is it an intimate story or does it feel wider with longer takes? Are details provided in the background? Is the character’s personality evident in what they are wearing or the room they inhabit? The cinematographer will want to discuss this with the director to make sure they are both on the same page in terms of a visual interpretation.
Cinematographers are very visual people who tend to see things rather than hear them. They often read scripts several times so that images will come into their imaginations. Many say if they can visualize what is happening while reading the script, they know they can interpret the words as images on the screen. Cinematographers are very visual people and see things rather than hear them. On the second or third reading of the script, cinematographers will take the words and apply cinematographic techniques to them, such as considering what focal length, color palette, movement, and film stock might best suit the film and visually emphasize thematic elements in the script.
5. Captivity (Photographed by Daniel Pearl, ASC)
■ On the first readthrough of the script, I write notes about anything that is out of the ordinary for me. If nothing special is required, I won’t write anything; if it’s conventional filmmaking, I don’t deal with that. Even with storyboarding, just draw the special things, things that are out of the ordinary. I did a film with Roland Joffee called Captivity. I was reading the screenplay; it’s a psycho thriller, and I come to this long scene that is supposed to be lit by just a match that made an impression on me. It jumped out of the script at me, and I figured it needed some new technology to shoot properly.
(Daniel Pearl, ASC, Frost interview, July 2007)
■ The first reading of the script for me is very important, even before I meet the director. I usually take a lot of notes because that’s the first impression I have of stepping inside of that world and how I see it in my mind’s eye usually comes to bear at that moment.
(Ellen Kuras, ASC, Frost interview)
What would make a cinematographer pass on a script?
If the cinematographer doesn’t feel that they can bring something to the project, they will probably decline to do it. If it is a genre they don’t want to work in or that doesn’t interest them, or something they’ve done before that wouldn’t offer a creative challenge, or even if they don’t identify with some aspect of the script, they will probably pass on it.
Each cinematographer has his or her individual reasons for either taking on a project or passing on it. It could have to do with the budget or the schedule and location, or the fact that they just didn’t connect with the material. If a cinematographer has just completed a project that took them to another country for several months, and you offer them a script taking them somewhere else for several months, they might pass on it just because they want to stay in town. Or they may take on your project because locally and is only a month-long shoot. Of course, in addition to all these considerations is also whether they feel they can connect with the director and see a potential for collaboration.
What would turn you off to a script or a director? Why would you pass on a project?
■ I read a lot of scripts and I won’t even finish it if it is not talking to my heart. Genre is important also. I try to dip my feet into all sorts of different genres. If I’m going to do a movie it will be one I would go see in the cinema.
(Rodrigo Prieto, ASC, Frost interview, July 2007)
■ I’ve gone into meetings with directors who don’t exhibit the things that make me feel like I could flourish in their environment, because ultimately, I have to work in their environment. They aren’t working in mine, so if I can’t work in their environment, then it’s not going to happen.
I like to set up a visual language for every film. I like to have a purpose for the cinematography and I think that is what makes filmmaking so unique that all the other aspects of the genre besides performance and direction are being maximized to their fullest which is why I like working with Darren or Spike, because they strive for those things. A director who doesn’t strive for those things I’m less inclined to work with. If the director is overly dogmatic and it comes from a place of insecurity, then that turns me off. If a person exhibits little to no vision, it really turns me off. It’s really the two extremes. Either there is an arrogance with no substance, or you have somebody that is so clearly confused that you know you are going to carry the weight of the world on your shoulders while being in someone else’s environment. Those are situations I don’t need to be in, so I shy away from them.
(Matthew Libatique, ASC, Frost interview, September 2007)
6. Black Swan (Photographed by Matthew Libatique, ASC)
■ I would pass based on violence or exploitative material. It’s very hard for me to get certain