Tucked away at a work station, I had the pleasure of (virtually) meeting Aman, one of Panavision’s camera and lens service technicians in London, aspiring cinematographer, and Sporas member.
All in Autumn Issue 2020
Meet Director: Emily Freda Sharp
What is your background? When did you realise you wanted to become a Director?
For the most part, I always knew that I wanted to go into the creative industries. Growing up, it was the work I saw my family doing all around me; my dad was a Music Producer, my grandpa was a film director, my grandma was an actress, so I suppose it felt like a natural progression. I was lucky enough to go to a secondary school that specialised in performing arts as well, which really helped to validate the arts as a genuine career option as opposed to just a bit of extra-curricular fun.
The Importance of Sleep on Health
Sleep. We all do it. We all need it. However, in this fast-paced, competitive and often cut-throat world, requiring sleep is often seen as a flaw with phrases like ‘work hard, play hard’ and ‘you can sleep when you’re dead’ tossed around the workplace with pride. We often see powerful men and women in the media quoting that they survive on 4 hours sleep a night. Not needing much sleep is almost a status - proving endurance, their worth and lack of weakness. However, over time, are they doing a disservice to their health, longevity, productivity and creativity, as well as increasing their risk of chronic disease?
Power to the Podcast
Everyone’s making a podcast these days. I, unlike many cynics, see that as a good thing. Fran, the founder of Cinegirl, and I have recently started co-hosting the Cinegirl Podcast, where we talk about film and TV and the way it reflects different topics. So far, we’ve discussed Mental Health with April Kelley (actress and ambassador for Bipolar UK), Pride on Screen with Lady Aria Grey (drag queen and award-winning writer), and chatted with Dale Elena McCready (DoP with an impressive portfolio of work). Recording the Cinegirl Podcast is undoubtedly the highlight of this horrible year we’ve been having, and I could talk about it all day.
In Conversation with Cinematographer, Annemarie Lean-Vercoe
F: What is your background? When did you realise you wanted to become a Cinematographer?
A: I grew up in Devon, and with my dad being a yachting photographer, as a teenager I found my own interest in photography. I did a foundation art course at Central Saint Martins, where I realised I wanted to do a degree in film, because I enjoyed the collaborative nature of filmmaking and the variety of departments to explore. Then I went to London College of Printing (now London College of Communications) and did a BA in Film & Video, and by the end of the course, I knew I wanted to pursue Cinematography
Catching up with Clapper Loader, Mahalia John
F: What is your background?
M: I was more intrigued watching the “behind the scenes” on the DVD Extras than the actual film itself, so I soon realised that I wanted to be part of that world. So, when I was sixteen I heard about the BFI Film Academy and I joined a short programme. Initially I started as a director, but then switched into cinematography and that is what set me on my path. I started working on my friends’ projects and eventually on NFTS short films as camera assistant. Through those experiences I met other camera assistants and started building up my network and CV.
Léa's Diary
Prep days are extremely important, and will most likely determine how smoothly the shoot will go. If you have a good prep day, it is more likely that the shoot will go well ; If you don’t, the first couple days will be slower and harder to quickly adapt to situations. Let’s try and give you an idea of what you can expect to do.
Diversity Solutions Article
Over the last few years, we’ve heard sobering statistics on diversity and how the film and TV industry is slowly improving issues around inclusion. This seems like a good time to talk and reflect over the last 18 months of running RA Agency (an agency exclusively representing women, several of whom are black) who hold key crew positions in sound and camera whether it be in Drama or Features.
Meet Production Designer: Carly Reddin
You also worked on the award winning commercial with John Malkovich for Squarespace. Talk to us about that.
This was one of those jobs when you get the job confirmation late one evening and show up at the office the very next morning. In this case, I was on the early Eurostar to Paris.
The film explores the challenges John Malkovich faces, as he is establishing his reputation as a serious fashion designer in Paris. It was an intense couple of weeks of scouting, dressing and filming. All sets were real locations that we modified and dressed, creating two fashion studios, a fashion show, a period film set, a photography studio, and a hotel room.
Allison Chhorn’s 'THE PLASTIC HOUSE' blurs the line between Documentary and Fiction
‘I was specialising in painting, but I was also interested in photography, sculpture and installation. I guess I naturally came to film and realised that it combines all those things. It’s photography, sound design and acting. It combines all these artforms and it was this perfect medium to tell a story through time. Working as an artist or, say, a painter or a sculpture, you predominantly work by yourself and produce everything yourself. The greenhouse was so private. It never occurred to me to invite other people in that space.’
Make your work loud: A call to action
As a woman born and raised in Romania, being subject to casual gender discrimination was second nature to me. In fact, it was so normalised that I never knew the gravity of it until I moved to the UK to pursue a career in film music. As I’m navigating the safer waters of Western inclusivity, I’m still coming to terms with the dated views that, not too long ago, I had to accommodate by making myself small and quiet both as a woman and as a composer.
In Conversation with Hanna Torrefranca
Hanna Acanfora Torrefranca developed her passion for filmmaking during high-school in Tel Aviv. She then pursued a BA in Cinema Studies and Documentary filmmaking at NYU, where she developed a strong interest in communicating stories through documentaries. Since then, she worked on several projects at PBS (the Public Broadcasting Station in the US) including 'The Central Park Five', the documentary that inspired Ava DuVernay's Netflix series 'When They See Us'. Hanna then worked at Vice, while starting to create her own documentaries during her free time, growing her desire and love of working in a team of talented and creative minds. Hanna is currently pursuing an MA in International Affairs and Human Rights with a focus of media at the New School of New York.
So… what happens after the film is completed? The distribution journey
Simple, it gets to the cinema or a streaming platform, so it is available for viewing, right? Well, it is actually a bit more complicated than that.
First of all, the process of getting a film to a screen is not a straight line. There are plenty people involved, working collaboratively and simultaneously. Let me walk you through it. Let’s say you've made a film, great job! It’s Oscar-worthy! But you need to get it distributed in different countries, not only to get those coveted nominations, but most importantly, to recoup the money.
Q&A: Nimarta Narang
Meet Nimarta Narang - a freelance writer and journalist, script analyst and master’s student. When I first met Nimarta almost four years ago at The Oxford Union, I found myself immediately taken by her creative spirit. Her passion for writing coupled with a formidable work ethic was profoundly inspiring to both myself and our mutual friends. It is, therefore, no surprise that she has since forged an impressive, promising career in the film and writing industries.