Who have been your mentors or teachers?
What films or other works of art have made the biggest impression on you?
From the first film I saw at age two Disney’s Snow White to diverse films like Lost Highway or The Diving Bell and the Butterfly, there is a huge range of influences that I reference at different times and in different ways. Films that have been thoughtfully designed and constructed to achieve a perfect suspension of disbelief are films that I am most passionate about. How did you get started in the business?
I started by making films when I was nine years old, after being totally amazed that my parents “owned a movie camera” – a regular 8 Kodak Brownie. I made films through high school on Super 8 film, went to Ryerson for the Film & Photography program and started PA’ing in commercials and then drama. As a filmmaker, I was shooting short films, music videos and documentaries on the side as I was working my way up in the business, which ultimately led to a lateral mid-career move. I had always thought I wanted to direct, so I followed that career path by making “indie” films and working my way up as an assistant director. However, it became clear to me while working on projects with other indie filmmakers
8 • Canadian Cinematographer - January 2017
My first mentors would be my parents, both of whom were involved in creative pursuits and exposed me to a wide variety of theatre, film, music, literature and art from a very young age. I have to also thank my grade 10 teacher who told me that film was an actual career that you could get paid for working in, when I was unsure what to choose for postsecondary education. Two cinematographers who had an influence in how I think about shooting are Rene Ohashi csc, ASC and more recently Eric Cayla csc. They both “upped the bar” and encouraged me to go for things I might otherwise hold back on. What cinematographers inspire you?
If I had to choose, I would lean towards Roger Deakins asc, who has a style and an edge (and a risk) to his shooting that I admire. But I also admire films shot by Peter Deming asc, Ellen Kuras, Sven Nykvist, Ron Fricke, and even the experimental innovations of Norman McLaren at the NFB. Name some of your professional highlights.
I did a series of films in the Eastern Arctic which were explorations of Inuit culture and history. Working on these films, with Inuit crew and elders, in extreme weather conditions far from any amenities, was one of my most satisfying and challenging work experiences (try changing a lens at minus 59 in ice fog next to the floe edge. It takes about 20 minutes). These films captured an important part of our history, and there is great satisfaction in being part of that. What is one of your most
memorable moments on set?
Recently, scuba diving with a school of 900-pound tuna has to be up there, but that moment is indicative of one of dozens of “I-can’t-believe-I am-doingthis-right-now” moments that are typical of this career: Shooting on the high parapet of a 900-year-old castle in Luxembourg at sunrise, chasing hang gliders with an ultra-light plane, hanging off the side of a schooner in 16-foot waves. What do you like best about what you do?
The constant exposure to new experiences and the never-ending learning. Also the thrill of seeing a finished project on the screen, especially when you see it really work the way you had intended. What do you like least about what you do?
There is a certain amount of instability and unpredictability, which is a lovehate relationship. There are times it can be frustrating when you cannot plan your life and you can never commit to anything outside of work until the last minute! I have missed some life opportunities because of that. What do you think has been the greatest invention (related to your craft)?
The greatest invention ever was motion picture film! But recently, I think it is LED lighting technology. I think that is advancing some of the possibilities of our craft, and to some extent, the approach to shooting, more so than many other technologies. I think LED technology will have a big impact, and with its lower power consumption it should also improve our carbon footprint. How can others follow your work?
I have a website, cbifilms.com, which has links to many of the projects I have worked on. I am currently on Private Eyes Season 2 as alternating DP with Pierre Jodoin csc.
Credit: Michael Tompkins/Syfy
Christopher Ball csc
CSC MEMBER SPOTLIGHT
that my real love was with the camera, and I found a great deal more satisfaction as a DP than I did as a director, so eventually I followed through with that change of plan.
