I thrive working with directors who have a clear conception. My job is to translate it to the best images possible so they can leave their mark on the film.
As a Director of Photography, I like to be at the director's service. In that regard, my work is more like an artisan's that an artist's. I don't claim to have a defined style but to adapt to the director's vision.
For me, it’s essential to build creative chemistry in the Director-DOP relationship and keep mutual trust throughout the whole project.
When shit happens on set, looking for someone to blame is a waste of time. You learn nothing from it. Running a rental house has taught me to focus on solutions instead. Much more productive and healthy.
On a film, good cinematography shouldn't get noticed. I.e. It should satisfy its narrative or emotional meaning without being in the spotlight. So I do my best to keep my cinematography invisible.
Filmmakers ask me frequently how I get "so much with so little", because I always seek to attain the maximum quality possible within available means.
Don't you think that consistency is crucial in a movie? A good job shouldn't have a few masterpiece shots and the rest to be mediocre, but to keep that quality the whole film.
I like to work with people committed with the project, passionate about the script they're going to film and demanding towards my job, which pushes me to go a step further.
I understand that you have a tight budget. But working on mid-budget productions doesn't need to be underpaid. A team fair paid and well treated will bring a unique quality to the project, keeping it within budget.