In Conversation with Cinematographer, Annemarie Lean-Vercoe

Virtually meeting Annemarie, during lockdown, was so inspirational. We talked about parenting, juggling work-life balance and her passion for cinematography. She is an experienced DOP who has worked on projects such as, the BAFTA WINNING Suffragettes with Lucy Worsley (BBC1), The Athena (Sky 1), Free Rein (Netflix) to name a few.

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.

I worked as a camera trainee for a couple of years after my degree. On my first TV drama as a trainee, Cinders Forshaw BSC was the DoP, and recommended that I apply to the NFTS to study an MA in Cinematography, as she had gone there herself. After I completed that degree, I had a nice moment of circularity working on a Sky TV drama called 'The Athena', where Cinders was the DoP on block 1, my best friend from the NFTS Cinematography course Sarah Bartles-Smith shot block 2, and I shot block 3. That was a nice moment to reflect on from my camera trainee eyes.

Annemarie working on set “Suffragettes with Lucy Worsley”. Photography by Parisa Taghizadeh.

F: What is the best and worst aspect of your job?

A: The best thing is the variety. I love working on narrative projects, and the whole process of breaking down a script with a director, working out how to translate this world from page to reality, and the creative problem solving that this requires. I especially love when you walk onto set on location or in a studio and see how a production designer has transformed the space. And the moment when the lighting that you have designed with the gaffer is in place, and you go for the first take with actors… that combination is so special. All the collaborations from so many different departments come together to create an atmosphere of heightened reality, which started inside a writer’s head. It’s great to be a part of that.

I also work on documentary films and the best thing about it is meeting amazing people, often in a short timeframe, working out how to portray their lives on camera with the minimum amount of intrusion, and getting to the essence of their story. I love the often contrasting yet complimentary ways of working in narrative and docs, and the hybrid of docu-drama. There are so many differences and crossovers.

The worst part of my job is the waste and the travel involved, because of what it’s doing to our planet. Things need to radically change to make our industry sustainable, it’s a big problem. I’ve recently joined a group called CUT IT: Crew-led Action for the Climate Crisis. It's really up to us to find ways to pitch in and find something to help make a sustainable change.

F: Any significant films/projects you worked on that have positively impacted on you and why/how?

A: I worked on a project filming on neonatal units for almost a year just before having children myself. It was an amazing and powerful experience, as I was properly embedded in several hospitals filming with some amazing medical professionals and really getting to know families who’s lives were upside down. The parents in this position were incredibly generous to share their lives in such a way. This experience made me realise that there is never going to be a perfect time to have kids, so if you want them, do it and you'll find a way to make it all work. I also learned to appreciate every job no matter what scale it is, and to do your best and to enjoy the journey. Basically, smell the roses!

F: You are a working mum. How did that affect your career or work-choice?

A: When my kids were babies, I stopped working on documentaries as often the hours are unpredictable and things can change at the last minute, which I found hard with scheduling childcare. So I focused more on long-form drama, because you know what your timeframe is going to be, so it’s easier to work around. Being a working mum has made my journey possibly slower and less in a straight line, in terms of my career trajectory, but that's ok. I prefer driving on country roads rather than motorways. I know other working mums with CVs that seem to be more straightforward, but everyone's path is different.

F: What is your view on finding an agent. Sometimes it appears that to get an agent, one needs an impressive “showreel”. It’s almost like what comes first, 'the chicken or the egg' situation. Do you think women have to work harder to find representation/agents?

A: Finding an agent really helped me get onto established TV dramas, but it was hard when I was initially searching for one. When I found the agent that I’m with, she was great. She said, 'I like your work, it’s really interesting. You have a child, that may make things more complex. It may not, but that's ok'. I really loved that straight-forward attitude. It's healthy and uncomplicated, it doesn't project ‘what if’ scenarios that may never happen, and also has an understanding of life. No one knows what life is going to throw at them! We take it as it comes.

F: Do you like it when you are referred to as ‘camera woman’?

A: I don’t mind being called a camera woman, it’s a fact; but I do generally use the term Cinematographer or DOP, depending on if I’m writing and short on space!

F: What is your piece of advice to women looking at starting a career as Cinematographer?

A: Go for it, be yourself, and enjoy it!

F: If you weren’t a Cinematographer, what would be your other job?

A: That’s a tough one! There are a few, but right now because of the Coronavirus, I think I would want to train to be a healthcare professional, or a Soul Midwife.