NATURALLY SO…

Filmography (so far): Greatest Days (2nd unit DP) (feature, 2023, dir. Coky Giedroyc); Tótem Loba (short, 2022, dir. Verónica Echegui); Groom (short, 2022, dir. Leyla Coll-O’Reilly); Ned & Me (short, 2020, dir. Lorna Nickson Brown); music videos for Harry Styles’ Harry’s House (album promo) (dir. Joe Connor), Måneskin’s Mamma Mia (dir. Rei Nadal) and Dodie’s Hot Mess (Live From The Attic) (dir. Tash Tung); commercials for Hermès, Calvin Klein, Fendi, Miu Miu, Google, The North Face and LiuJo.

Accolades: Tótem Loba – Goya Award for Best Fiction Short Film 2022; Groom – Official Selection at BFI London Film Festival 2022, BAFTA Scotland Nominee 2022, and Best Cinematography, International Competition at Berlin Interfilm Festival 2022; Ned & Me – Official Selection at Clermont-Ferrand 2021; and My Hero (short, 2019, dir. Mac Montero) – Best Cinematography at Catfish Shorts Festival 2020.

When did you discover you wanted to be a cinematographer?

At the age of 19, during my college years in Spain. After participating in a film workshop, I fell madly in love with the art of cinema. I saved enough money working that summer to buy the camera with which I would shoot my first shorts and music videos. I fondly remember those projects, which I directed, photographed and edited myself.

I immediately realised that what I enjoyed the most about the whole process were the moments spent behind the lens, making the decisions regarding language, light and framing that allowed me to create the emotions I was looking for. Then I discovered the role of the cinematographer and I instantly knew what I wanted to be.

Where did you train?

After media studies in Spain, I moved to London with the idea to do a masters in cinematography. I was aware that I needed to build-up my narrative reel, so I started working as a camera trainee to get experience on-set, whilst shooting as much as I could on the side.

I learnt so much on-set that it basically became my film school. I was so hungry to learn. I was always taking notes of the lighting set-ups, asking questions to the cinematographers and gaffers. I have been lucky enough to encounter great professionals who have always given me great advice and have supported me along the way.

Whilst working on my personal projects, I learnt by trial and error. Shooting as much as I could. Even if that meant not having a day off. I am very grateful for those years, and even though it was hard work it definitely was worth it.

How did you get your first break?

My first opportunity came thanks to Tobias Schliessler ASC. I was his personal assistant on The Good Liar (2019), starring Ian McKellen and Hellen Mirren. After watching my reel, he was struck by the quality of my work stories with a strong sense of language have always struck with me. Again, this is a film where you can sense the poetry of each image. I absolutely love the composition and sensibility. and my passion, and immediately offered me to operate camera and shoot additional photography on the film. After that great opportunity I felt ready to follow my own path as a cinematographer. I started working in commercials, although I never left aside my real passion: shooting narrative.

Portrait Of A Lady On Fire (2019, dir. Celine Sciamma, DP Claire Mathon AFC) – this one has become one of my favourite films of all time. I love the sensibility to this period love story between two women. Celine Sciamma and DP Claire Mathon AFC did a beautiful job making sure each frame looks like a painting. I love how the light seems to come out of the characters. I absolutely love Mathon’s approach to it, big sources with loads of diffusion to create softness and texture.

Who are your DP/industry role models?

Sven Nykvist – his use of natural light and the way he always framed each characters’ emotions has always struck with me. I am constantly inspired by his close-ups.

Claire Mathon AFC – I adore her work with director Celine Sciamma, especially in Portrait Of A Lady On Fire, also in Spencer (2021, dir. Pablo Larraín). I relate to her sensitivity and the soft quality of her images.

What are your favourite films, and why?

Three Colours: Blue (1993, dir. Krzysztof Kieślowski, DP Sławomir Idziak) – I absolutely fell in love with visual language after watching this film as a student. It really inspired me to become a cinematographer. I was in awe of what Kieślowski and his cinematographer Sławomir Idziak did using images to express each emotion of Juliette Binoche’s character. It’s a masterpiece that still inspires me today.

In The Mood For Love (2000, dir. Wong Kar-Wai, DPs Christopher Doyle/Mark Lee Ping-Bing) –

Edu Grau ASC – he’s chameleonic and I am like that too. I’ve always been inspired by his career and his courage to take big projects from such a young age. I love his work in films such as A Single Man (2009, dir. Tom Ford) and Quien Te Cantará (2018, dir. Carlos Vermut).

What quote / mantra do you live by?

In cinematography, “Less is always more”.

What advice would you give the ‘young you’, just starting out?

Enjoy the process and be patient. Your time will come.

Where do you get your visual inspirations? From various sources. Art and nature mostly. I love going to an art gallery and getting inspired by the use of light, composition, textures and colours. Photographers like Saul Leiter or Gregory Crewdson have inspired me for years.

Most recently I have found myself coming back constantly to nature. I love observing the quality of the light at different times of the day. I feel inspired by the elements and the different textures. In those moments of absolute presence is where images and ideas easily come to me.

What have been your best/worst moments?

Best: I love those moments when “magically”, everything comes together. I remember one particular scene in a short film, where the main character had to make eye contact with an owl. We didn’t have much time left and everybody was getting nervous. Suddenly the energy of the entire crew changed,

Yes, this is definitely a very demanding industry. Over the years I’ve learnt to take good care of my whole wellbeing. I don’t do drugs of any kind, I eat healthily and spend as much time in nature as I possibly can.

In the entire history of filmmaking, which film would you love to have shot?

Portrait Of A Lady On Fire

What’s the best thing about being a DP? It’s impossible to choose just one thing. I love to create the visual language of the film with the director, everything went quiet, and the owl looked at the actor as if he knew exactly what we asked him to do. It was such an emotional moment. We all felt it and it was beautifully captured.

I managed to shoot a music video on 35mm film in Italy with little to no prep, a non-English-speaking crew and extremely long days. It was a tough one, but I couldn’t be happier with the result.

What is the most important lesson your working life has taught you?

Worst: (but a funny one to remember) was shooting a hair commercial on a very windy rooftop. The producer was on the verge of a nervous breakdown.

Tell us your hidden talent/party trick?

My party trick is not going to the party, but making people laugh and smile everyday.

What is one thing people would be surprised to know about you?

Outside my job, I don’t spend much time at all on screens or technology.

Away from work, what are your greatest passions?

Nature, cinema, and playing guitar.

How do you like to “waste” your time? Switching-off my phone and spending hours lost in nature.

What is the top thing on your bucket list? Collaborating with Celine Sciamma.

It can be tough being a DP, how do you keep yourself match-fit?

Being on-set became my film school

translating words into images and emotions. I love travelling the world telling stories, and I absolutely love that everyday is different from the others.

What’s the worst thing about being a DP? The long working hours.

Give us three adjectives that best describe you and your approach to cinematography? Passionate. Sensitive. Warm.

If you weren’t a DP, what job would you be doing now?

I would probably be an interior designer.

What is your aspiration for the future?

To tell stories with a positive message and impact in this world that is so in need of hope, reality and beauty.

What do you consider your greatest achievement, so far?

As much as I love my job, at the end it’s just a wonderful profession that allows us to pass beautiful messages. But, the most important things in life are the relationships we develop with others and how much we share. We are not saving lives and there is life outside of it.

What advice do you have for other people who want to become cinematographers? Shoot, shoot, shoot. Learn, learn, learn. Your mistakes will teach you the way.

For you, what are the burning issues in the world of cinematography, filmmaking and cinema, that need to be addressed? There is an increasing tendency to make horror and violent movies that only encourage people to detach themselves even more from reality. I would like to see more of innocent, hopeful and profound films being made.

What’s up next for you?

Many exciting things: commercials in Europe, a feature in Spain, another in Canada, and soon my first work in USA.

Who is your agent?

I’m represented by DDA Talent in the US and Vision Artists in UK and Europe.

What is your URL/website address? https://lorenapages.net/