TOMMY MADDOX-UPSHAW ASC•THE MAN WHO FELL TO EARTH

THE WORLD IS THEIR CLASSROOM

By Natasha Block Hicks

We are looking for creativity, individuality and the willingness to be a team player

The variety of international establishments offering a worldclass training in filmmaking could leave a potential cinematography student crippled by indecision. The Filmakademie Baden-Württemberg, established in 1991 in Ludwigsburg, Germany, has a neat solution to this dilemma. Study coordinator Roland Mönch, a DP with a background in documentary filmmaking who heads the cinematography programme, explains how organised exchanges with global partner institutions help connect students with their contemporaries abroad.

“The oldest international programme is the ‘Hollywood Workshop’ at the University of California, Los Angeles (UCLA), which has been going around fifteen years,” says Mönch.

Also on offer is the ‘Bollywood Workshop’, where Filmakademie students visit the Film & Television Institute of India (FTII) in Pune, and the ‘Fiction Alexa Workshop’, where a team from the school, including two DPs, shoot a 15-minute short at La Fémis in Paris.

These arrangements are reciprocal, so even students staying on home soil will be exposed to the cultural diversity of foreign filmmakers. In addition, the well-established network of Filmakademie alumni, of which all students become members on enrolment, is can be seen on Season 3 of Netflix’ The Crown (2016-), Daniela Knapp BVK, the recipient of the Film Award in Gold at the German Film Awards for her cinematography on The Poll Diaries/Poll (2011, dir. Chris Kraus) and Mathias Fleischer, two-times winner of the Bavarian Film Award for Best Cinematography for the features Das Lied In Mir (2011, dir. Florian Cossen) and The Little Witch/ Die Kleine Hexe (2018, dir. Mike Schaerer). A framework of scholarships supports qualifying students with personal and production costs for both international programmes and home study. In line with German legislation, the Filmakademie does not impose fees on EU students undertaking their first degree, however EU students on an additional undergraduate qualification must contribute €650 Euros in fees per semester and non-EU students are liable for €1,500 Euros per semester.

Within a couple of years, all the modules at the Filmakademie will be taught bilingually, in German and English, and students will be expected to integrate a year abroad into their studies, strengthening the international position of the school.

“This is the goal,” comments Mönch. The Filmakademie has been working hard to build a network of partner institutions including Notre Dame University in Lebanon, the Universidad del Cine in Argentina and the Maisha Film Lab in Uganda.

To encompass all these opportunities, plus their busy schedule of hands-on learning on-campus, the cinematography programme at the Filmakademie – officially four years – can often take five years and awards its own unique diploma.

Prof. Thomas Schadt, managing director of the Filmakademie states: “Some years back the question arose of whether we should introduce BA and MA degrees. After a thorough analysis we came to the conclusion that, for us, the Bologna system does not really do justice to the creative processes which are at work in film and media education.”

Teaching at the Filmakademie is delivered almost entirely by visiting tutors. Icelandic DP Birgit Guðjónsdóttir IKS BVK, who was awarded an honorary German Camera Prize (Deutscher Kamerapreis) in 2018 for her ‘outstanding career in filmmaking’, is teaching at the Filmakademie this year. Previous international tutors include Philippe Rousselot AFC ASC, known for Beautiful Creatures (2013, dir. Richard LaGravenese) and Phedon Papamichael ASC GSC who lit The Trial

Of The Chicago 7 (2020, dir. Aaron Sorkin), but the majority come from BVK (German Society of Cinematographers) membership.

Joining Guðjónsdóttir on the current roster are DPs Martin Gressmann BVK, winner of a 2016 German Film Critics Award for his documentary Das Gelände (2014), Jolanta Dylewska PSC, the recipient of numerous accolades for her lighting of In Darkness (2011, dir. Agnieszka Holland) and Hans Fromm BVK, winner of

the 2008 German Film Critics Award (Best Cinematography) for Yella (2007, dir. Christian Petzold).

The Year 1 programme of ‘basic studies’ at the Filmakademie is shared across all departments. Students undertake eight-week modules each in scriptwriting, directing and cinematography, culminating in the creation of a ten-minute collaborative film in a generic apartment set in the 300m² Jochen Kuhn Studio, which is the smaller of two sound stages hosted by the Filmakademie (the 400m² Albrecht Ade Studio being named after the Filmakademie´s founding director).

Both studios are equipped with control panels, lighting control and black, blue, and green screen.

The Filmakademie has around 400kW of lighting in its stores, including ARRI Tungsten, HMI, SkyPanel and Orbiter systems, plus Dedolight DLED and Lightstream Sets and KinoFlo and Carpetlight options.

The year concludes with a module in freestyle moviemaking.

“We call it ‘filmgestaltung’ which means shaping, forming film” says Mönch. “Students can do what they like. Some make short dramas but many make small animations.”

In Year 2, students break away into their specialisms. Cinematography students pass the winter semester filming a documentary, in given lighting conditions, and the summer semester shooting a drama of up to 30-minutes runtime with additional light. There is also a week-long workshop with directors and actors, in collaboration with the Filmakademie’s own dedicated casting department.

Lighting a set created by the production design students forms part of the curriculum in Year 3 for student DPs.

“They shoot it with access to all the resources the Filmakademie has to offer,” explains Mönch, referring to the Filmakademie’s substantial inventory of 48 cameras, including ARRI Alexa LF and Mini LF, Sony Venice, Black Magic and ARRI SR3 and 416 film cameras, that can be partnered with lens sets such as Zeiss Ultra Primes or Cooke S7i, plus a selection of industry-standard zooms. Students can choose from a large range of grip and stabilisation options, including Easyrig,

Sachtler Cine tripods, Cartoni Lambda Nodal Heads, Panther Classic dollies, tracks and jib arms from Grip Factory Munich.

A three-month interdisciplinary workshop with the Filmakademie’s Animation Institute is a highlight of Year 4.

“It’s called set extension,” explains Mönch. “The art department construct some physical elements and create a digital background. This used to be done with a greenscreen, but for the last two years we’ve been sponsored by LEDitgo in Mannheim, about 100km from here, who build LED walls.”

Students opting to pursue the Filmakademie’s unique diploma qualification may then spend up to a year on their final film project.

The Filmakademie is keen to promote student films, of which more than 250 are produced across all formats per year. As well as utilising the Filmakademie’s own 160-seat, full digital projection Caligari Cinema, and collaborating with German public television stations, the Filmakademie festival coordination team actively help students pursue film festival screenings and competitions.

In 2021, the short Tala’vision (2021, DP Philip Henze, dir. Murad Abu Eisheh), shot in Jordan, won Best Narrative Film at the Student Academy Awards, the 7th Student Oscar for the Filmakademie, as well as the Silver Tadpole at Camerimage. In the same year the Bronze Tadpole was claimed by another Filmakademie short Cold Blow Lane (2021, DP Christopher Behrmann, dir. Luca Homolka). Student Marvin Schatz was the winner of the 2019 February Award at the European Cinematography Awards for his lighting of Proxima-B (2018, dir. Stefan M. Bürkner).

The Filmakademie is committed to enrolling a student body that is representative of the general population and runs outreach campaigns that target underrepresented groups. This is underpinned by student workshops and conferences on gender and diversity in filmmaking. Part of their official policy states:

“By promoting diversity, inclusion and equal opportunities, the Filmakademie is keen to make an active contribution to creative equality. We want to train diverse talents who can go on to enrich the film industry with different and multifaceted stories.”

Potential students can apply to the Filmakademie cinematography programme by the submission of a short film and written application. Around 130 hopefuls applied last year, of which 20 were invited for an interview. Applicants then have 72 hours to make a five-minute film to a brief set by the Filmakademie.

“We are looking for creativity, individuality and the willingness to be a team player,” states Mönch.

A panel of three judges oversees the admissions process and selects the final seven cinematography students.

Future filmmakers need not wait until adulthood to realise their passions. The Kinderfilmhaus – literally ‘Children’s Film House’ – is an interactive centre run by Filmakademie students, which gives youngsters from the age of six their first taste of moviemaking. “Maybe one day a kid who has been there will come to the Filmakademie,” says Mönch, “it hasn’t happened yet, but watch this space.” Applications for 2023 enrolment go online in Q4 2022 and close on 15/02/2023. www.filmakademie.de

The Filmakademie is keen on creative equality… and training diverse talents who can enrich the film industry

HUNGRY EYES

Selected filmography (so far): shorts… Wasps, Sharks & Vending Machines (2020, dir. Kew Lin), In My Day (2021, dir. William Graves), Pigeon (2021, dir. Tulsi Behl) and You Are Absolutely Right (2022, dirs. Bousher & Gee).

When did you discover you wanted to be a cinematographer? My dad is a documentary director and my mum a painter. Via them I’ve always had a connection with visual storytelling. I spent most of my youth in Italy. When I was 12, we were at a medieval fair in Tuscany and my dad was filming with a VHS camcorder. Being slightly dubious of his operating skills, I took the camera off his hands. By the end of the day, I pretty much decided I was going to make a career out of it… if for no other reason than to bring our home movies up to par.

Where did you train? I completed a BA in Cinematography at Met Film School, Ealing, in 2013 and went on to climb the ranks of the camera department, spending around eight years assisting and fully stepping-up to DP in 2021. Whilst uni was great for contacts and expanding my film knowledge, in retrospect I could’ve probably chosen a shorter course, saved a lot of money and jumped straight into the industry as a trainee. Being on-set is the best filmschool, and a thing you need to learn fast is how to make a good cup of tea… that should be part of filmschool curriculum too.

What life/career lessons did you learn from your training? Believe in yourself. Don’t try and mould yourself to your peers. Have fun. Do what you enjoy doing. Do more of it, and do it well. Delegate responsibility. Surround yourself with people who have your back. Be humble. Backlight everything.

How did you get your first break? Whilst still focus-pulling, I started shooting promos with musician mates, short films, spec commercials and smaller content work. Eventually it snowballed from there to the point that I actually started getting paid for shooting (God forbid!) and could, more-or-less, maintain my lifestyle.

What are you favourite films, and why? Shame (2011, dir. Steve McQueen, DP Sean Bobbitt BSC) – the power and simplicity of how Steve and Sean craft shots is incredible. There is a long, profile, tracking-shot of Michael Fassbender running that is my favourite shot of any film.

Boy (2010, dir. Taika Waititi, DP Adam Clark) – I love Taika’s humour and sensitivity. From a purely storytelling point-of-view his films are brilliant. Boy is the perfect feel good, hung-over Sunday, pick-me-up film.

No Country For Old Men (2007, dir. Joel & Ethan Coen, DP Sir Roger Deakins CBE BSC ASC). The Coen Brothers and Deakins, to use a current acronym, are the absolute GOATs (Greatest Of All Time). I love all their collaborations, but gun-to-head, I’d pick this one.

What’s the best advice you were ever given? Before I stepped-up, I used to focus pull for Aaron Reid (Britannia, Love Sarah, Stephen). I caught up with him a few months ago and he told me something that really stuck with me, “Regardless of everything else, cinematography at its essence is the ability to light a face. If you can do that well, you’re in a pretty good place.”

Where do you get your visual inspirations? A lot from art. I drop into galleries when I can, and London is brilliant for that. Sitting in front of Rembrandts, Vermeers, Turners (to name a few), seeing how they’ve perfected the use of light and shade in their paintings, is incredibly inspiring. And photography. My photo-book collection is forever expanding, and I try to carry at least one point-and-shoot with me in case something catches my eye.

What have been your best/worst moments onset? Best: was on a short called, You’re Absolutely Right, which I shot at the beginning of 2022 with the directing duo Bousher & Gee. They have a unique brand of dark humour, which I love. After reading the script, I knew I wanted to shoot it. Simple, one room, one actor story – very refreshing compared to far too many over-ambitious shorts, with ideas cripplingly-bigger than their budgets. Through the whole process I felt we were completely in-sync, and the final product reflects that. We settled on a visual tone before the shoot that reinforced the story, and we never questioned each other’s decisions during production.

Worst: after I had just graduated filmschool, I managed to blag my way on to the set of Star Wars: The Force Awakens (Episode VII) (dir. JJ Abrams, DP Dan Mindel BSC ASC) as a witness camera operator for a few days. Approximately eight of us were floating around set with little Sony cameras, trying to shoot lock-off shots of the scenes from as many angles as possible for the VFX unit to create 3D models. Then the main cameras started rolling, Harrison Ford, Lupita Nyong’o, John Boyega, all standing right in front of me. Having found a safe spot behind a column, I set my shot. As the cameras rolled I decided that I might as well make myself comfortable, and sat down next to the tripod. Immediately, just off-set, someone in a loud American accent shouted - ‘Cut, cut, cut … there’s someone in shot!’ It was JJ Abrams who proceeded to walk onto set, look directly at me and say half-jokingly ‘Do you even work here!?’.

What is your most treasured cinematographic possession? My SmallHD 703 monitor. After a year or so of using different monitors and getting increasingly frustrated by them being way-off the image I was actually capturing, I spent a day calibrating it and getting it to the point where I have much more faith in what I’m looking at – colour, contrast ratio-wise – and know the adjustments to make for different environments.

What’s strangest place you’ve ever shot in? One of the first promos I shot was for a Romanian metal singer. We unloaded into what, from the outside, looked like a tame-looking warehouse in Walthamstow, but inside was a fully-equipped S&M playhouse complete with cages, racks, spiked thrones, lots of leather and uncomfortably sticky floors. The thing that made it feel a little too real were all the alcohol wipes nestled around!

What’s the hardest shot/thing you’ve had to light/frame? Night exteriors are always the biggest challenges for me. I recently had to shoot a night exterior on an outdoor tennis court for a promo. While shooting inside

Being on-set is the best filmschool

for most of the day and it being dry as a bone outside, Sod’s Law would have it that it started chucking it down as soon as we moved to the exteriors. We ended-up ditching almost our entire lighting plan as we were lacking waterproof heads and did not have enough hands or time to safely set pretty much any fixture. It kind of worked out in the end, as I just backlit and silhouetted the scene with a whole bunch of ground level fireworks… which very possibly ended-up looking better than the lighting we had originally planned. Tell us your greatest extravagance? Fine dining… I’m a bit of a foodie. Whilst you’ll find me penny-pinching on everyday items like cheap toilet paper and dishwasher tablets, I will happily go large on expensive meals.

It can be tough being a DP, how do you keep yourself match-fit? My worst nightmare is being on-set and not feeling sharp. I do my best to prioritise exercise, sleep and eating healthily. It’s incredible how much easier it is to work and be creative when you’ve had eight hours of solid rest.

In the entire history of filmmaking, which film would you love to have shot? From a fanboy point-of-view, probably The Lord Of The Rings: The Fellowship Of The Rings (dir. Peter Jackson, DP Andrew Lesnie ACS ASC).

What’s the best thing about being a DP? Best: creating images that resonate with me. I can be pretty introverted and find that my work is one of the best ways I have of expressing myself.

Worst: that it’s pretty much guaranteed that whenever you book a holiday, a shoot will come along to ruin it.

Tell us your hidden talent/party trick? Not that much of hidden talent, but after about 15 years of trying, I finally managed to figure out how to loud whistle a couple of years ago.

If you weren’t a DP, what job would you be doing now? Probably a baker. During lockdown I became one of those sourdough enthusiasts, and actually made a temporary business out of it. In search of the perfect loaf, I was making and delivering eight or ten loaves of sourdough around Hackney every day. I had to call it quits eventually, as my girlfriend was ready to chuck me out because everything in our apartment was consistently covered in a light patina of flour… including the cat!

What are your aspirations for the future? Workwise, the goal is narrative – features, HETV. Life-wise, eventually I want to live on a beach, have a family, a dog and be able to achieve a work/life balance that allows a certain amount of calm.

What advice do you have for other people who want to become cinematographers? Don’t force yourself to have a style, trust in your taste and find the people who have a similar one.

For you, what are the burning issues in the world of cinematography, filmmaking and cinema? The biggest issue remains under-representation. Whilst being widely addressed, more needs to be done to allow everyone access to the industry and achieve a more balanced pool of crew members.

What is your URL/website address? www.brendanharvey.co.uk