It all comes down to the story. I’ve heard these words often in either making or discussing films, and they reflect my feelings on cinematography. Everything that the camera dictates must come from some element of storytelling. Whether you are striving for the closest possible replication of reality, or an entirely stylized vision of the world, the way you use the camera must come from a place of honesty.

I believe in a healthy dose of preparation for any project, but keeping an open mind when it comes to the work on set is critical in being able to adapt and capture the organic and unpredictable. A cinematographer must be a powerful influence on a production, but must also be the most malleable, unpretentious and modest. Like the old axiom, I believe the camera does not lie, and thus the person responsible for it must be equally candid.

The clarity of the director’s vision is imperative to me. A cinematographer’s role is almost always that of an interpreter; composition, camera movement and of course, lighting are the primary tools. Finding the common language between the tools and the vision is key.

Just as important for a production, in my opinion, is momentum. I believe in maintaining it at all costs. My role in creating an atmosphere on set that preserves the day and creates an environment where the greatest level of creativity can be achieved is essential to me.

But who really cares about any of it, if the story isn’t there?