Images.
Today the line is blurred
in how images can be produced. Cinematography is more like painting today
because images can be changed and manipulated.Painting and photography
have similar goals.
What do you want to say?
What do you want to emphasize?
More importantly what do you want your audience to feel?
The consistent themes in my work, I've discovered, are light, composition, and shape. I love light as an energy: the different kinds of light and how the different qualities of light manipulate the emotions. Which "lens" you choose makes the image feel a different way. All these factors come into play when making an image.
I've been very fortunate to have worked in a variety of media. I was very lucky to have been a model builder under Mark Stetson, one of the best miniature and effects supervisors around. I was fortunate to have worked with production designer Norman Garwood on "Misery". Having painted and drawn for 20 years has given me enormous insight into the finer points of composition and staging. A painting is about what you WANT to say, not necessarily about the cold facts in front of you. A good painter will rearrange the elements to make the picture interesting.
Having recently gotten the opportunity to art direct "Brother Bear" I was able to use everything I've learned to try and make a well crafted timeless looking movie. My inspirations have been as varied as how Emmanuel Lubezki lights his scenes to how wonderfully crafted the films shot by Ernest Haller and Gordon Willis are. They utilize the classic rules of cinematography with such taste. And then there are the great painters like Edgar Payne and Scott Christensen whose pictures are so natural you don't notice that they have been thoughtfully and carefully composed.
As real as photography is, it's still a medium and a medium is still a TRANSLATION of what's in front of me. And because the camera can't think, it becomes MY responsibility to let the viewer see what my brain and my heart see. The right lens, the angle, the distance off the ground, the contrasting planes and overlapping shapes are all elements that make up what the image will say and how it will affect people. Interpretation is everything.
Film is such a powerful medium. As Vittoro Storaro says; "It's sensitive enough to capture emotion." and that, as an artist, has and always will be my goal.
CLICK HERE FOR MY RESUME
What do you want to say?
What do you want to emphasize?
More importantly what do you want your audience to feel?
The consistent themes in my work, I've discovered, are light, composition, and shape. I love light as an energy: the different kinds of light and how the different qualities of light manipulate the emotions. Which "lens" you choose makes the image feel a different way. All these factors come into play when making an image.
I've been very fortunate to have worked in a variety of media. I was very lucky to have been a model builder under Mark Stetson, one of the best miniature and effects supervisors around. I was fortunate to have worked with production designer Norman Garwood on "Misery". Having painted and drawn for 20 years has given me enormous insight into the finer points of composition and staging. A painting is about what you WANT to say, not necessarily about the cold facts in front of you. A good painter will rearrange the elements to make the picture interesting.
Having recently gotten the opportunity to art direct "Brother Bear" I was able to use everything I've learned to try and make a well crafted timeless looking movie. My inspirations have been as varied as how Emmanuel Lubezki lights his scenes to how wonderfully crafted the films shot by Ernest Haller and Gordon Willis are. They utilize the classic rules of cinematography with such taste. And then there are the great painters like Edgar Payne and Scott Christensen whose pictures are so natural you don't notice that they have been thoughtfully and carefully composed.
As real as photography is, it's still a medium and a medium is still a TRANSLATION of what's in front of me. And because the camera can't think, it becomes MY responsibility to let the viewer see what my brain and my heart see. The right lens, the angle, the distance off the ground, the contrasting planes and overlapping shapes are all elements that make up what the image will say and how it will affect people. Interpretation is everything.
Film is such a powerful medium. As Vittoro Storaro says; "It's sensitive enough to capture emotion." and that, as an artist, has and always will be my goal.
CLICK HERE FOR MY RESUME
