FRAME OF MIND 

Filmography so far (project title, director, year released)    

Feature:  

Teleport (original title: Coyote) – Dustin Curtis Murphy, 2023  

Selected Shorts:  

Imprint – Louis Akihito & Jordan Neill  

I Am the Prize – Sai Kalwan Tawar, 2024  

The Time Machine – Zak Harney, 2024  

What Men Do For Love – Sai Kalwan Tawar, 2024  

Everything Is Out to Get Me – Dustin Curtis Murphy, 2023  

When did you discover you wanted to be a cinematographer and what inspired you to follow this career path?  

My passion for cinematography began during my time as a competitive skier where my friends and I were often making videos to promote our sponsors. We had a lot of fun chasing each other down the mountain with cameras, and that dynamic movement has influenced a lot of my work today.  

Although I pursued university studies, it felt more like the conventional path than a deliberate choice. I was still very much focused on my skiing career and didn’t initially see another career path for me. However, it was in my final year following an injury setback and while working on our graduate film Grey that my eyes were opened to a career in cinematography, and knew it was the one I wanted to follow.   

Where did you learn your craft?  

I studied Film Production & Technology at Birmingham City University and graduated in 2014. I went straight into videography and learnt mostly through trial and error. I also spent several years working as a Movi operator, which gave me the opportunity to observe and learn from more experienced cinematographers.    

What are your favourite films, and what makes them stand out to you?  

Heat (1995) – the characters, the raw realism, and the most intense shootout I’ve seen in any film.  

Se7en (1995) – a dark, intense, brutal, and gripping masterpiece by David Fincher.  

Lion (2016) – an incredibly captivating and powerful depiction of a real-life story. The cinematography by Greig Fraser ASC ACS is stunning, beautifully capturing the Indian and Australian landscapes.  

Taxi Driver (1978) – Martin Scorsese brilliantly creates a sense of uncomfortable loneliness that Michael Chapman ASC cinematography choices really immerse us in the mind of the protagonist.   

Who in the film world inspires you?  

I’m really inspired by the work of Robbie Ryan BSC ISC. I find his collaborations with Yorgos Lanthimos fascinating, and I really resonate with his style of cinematography. I’m also influenced by the work of Emmanuel Lubezki, Linus Sandgren ASC FSF and of course Roger Deakins CBE BSC ASC. Though each of these cinematographers have their own unique style, I admire how adaptable they can be in service of the story.   

What’s the most useful advice you’ve received and from whom?  

My parents, they have always said to me treat other people how you want to be treated.   

What advice would you give someone considering becoming a cinematographer?  

Listen, watch, observe light and shoot as much as you can. Focus on your own journey and don’t compare yourself to others.  

What have been your greatest triumphs and disasters on set?   

Most recently it was a real pleasure getting the chance to work with Stephen Graham, someone I’ve admired for years. As for my biggest disaster, it was probably when I tripped on the stairs at Villa Park during a live game. I ended up crashing headfirst into a wall while carrying a big LF & Zoom package, with thousands of fans watching and laughing. Luckily, I was able to laugh it off, with just a few bruises and a cracked filter to show for it.  

What lights your fire outside of work?  

Football, skiing, travel and good food.  

What has been the biggest challenge in your career and how did you overcome it?   

For me, it was probably not following the traditional path. If I could go back, I would have spent time in both the camera and lighting departments. The experience and connections you build in those areas are invaluable. There are moments where I second-guess myself, but I try to stay determined and keep looking for new opportunities as a cinematographer.   

What piece of kit could you not live without?  

My iPhone, with all the useful apps that are now available.  

Which film would you love to have shot?  

Skyfall (2012) – it’s got a bit of everything.  

Which productions are you most proud to have lensed, and why?  

The Time Machine was my first narrative collaboration with Zak Harney and was made with an important cause in mind – raising awareness about male suicide. I was really pleased with the look we achieved, which really complemented the films emotional tone.  

The short film Everything Is Out to Get Me with Dustin Curtis Murphy also really stands out for me. It was one of those projects where everything came together perfectly – shooting on film, a lovely crew, an amazing location and a great story. I’m hopeful that we’ll be able to make the feature version soon.   

What’s the best and worst thing about your job?  

The best part is meeting and working with so many amazing people, and the satisfaction when everything falls into place. The worst part is the constant uncertainty of work and never being able to fully switch off.    

How would you best describe your approach to cinematography?  

Natural, methodical and most importantly story-led.  

What are your aspirations for the future?  

To keep learning, improving, collaborating with new directors and working towards shooting more feature films and some TV dramas.    

What do you think are the industry’s biggest challenges?  

Equality, working hours and AI.