BRIGHT SPARK

Filmography so far:

Bicep – Water Ft. Clara La San (2022) Dir. Aoife McArdle
Harka (2022) Dir. Lotfy Nathan
Mor Mor – “Far Apart” (2022) Dir. Camille Summers-Valli
Shygirl – “Shlut” (2022) Dir. Diana Kunst
Moderat – “Fast Land” (2022) Dir. Ben Miethke
Vogue – “Body Language” (2022) Dir. Camille Summers-Valli
BadBadNotGood – “Beside April” (2021) Dir. Camille Summers-Valli
Ere (2021) Dir. Thibaut Grevet
Flohio – “Unveiled” (2020) Dir. Daniel Sannwald
Swim Hunt Run (2020) Dir. Camille Summers-Valli
1609 (2020) Dir. Jonas Vahl
Låpsley – “My Love Was Like The Rain” (2019) Dir. Camille Summers-Valli
Dasein und Sein (2019) Dir. Ben Miethke
The Seed (2019) Dir. I Am Here
Pantha du Prince – “Jupiter’s Delight” (2019) Dir. Jonas Vahl
Commercials with directors including: Philippe Tempelman, Marcus Ibanez, Pantera, Charlotte Wales, and James Gray.

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

I think it was a combination of my sister showing me the Virgin Suicides by Sofia Coppola and an open day at Filmakademie Baden-Württemberg near my hometown when I was about 14. When I discovered what cinematography was on that open day, I was fascinated by it right away.

Where did you learn your craft?

I studied cinematography at Film Academy Baden-Württemberg and graduated in 2020. Before that I did a year-long internship at ARRI Rental in Berlin and worked as a video operator/2nd AC in Germany on TV series, features and commercials.

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

Birth (2004) Dir. Jonathan Glazer, Cin. Harris Savides ASC – There is just something magical about that movie. 

Yi Yi (2000) Dir. Edward Yang, Cin. Wei-han Yang – The simplicity of framing marrying storytelling is extraordinary.

Elena (2011) Dir. Andrey Zvyagintsev, Cin. Mikhail Krichman – Mikhail Krichman gave a one-week course at my film school and I hadn’t seen all his films at that time. I saw Elena a year or so after and the film itself really stuck with me but more so the connection between having met him as a person and the cinematography in Elena. It just made sense in a beautiful way.

The Mother (2003) Dir: Roger Michell, Cin. Alwin Kuchler BSC – The World needs more movies that are framed like that.

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

I’ve been quite lucky that a lot of cinematographers I‘ve reached out to have been very open sharing their experiences and thoughts on the industry. This sounds a bit romantic but there is an interview directed by Kahlil Joseph with Harris Savides ASC after shooting Somewhere. Savides’ daughter walks in and makes herself a bowl of cereal and he says something about her chewing. There’s something great about how the interview isn’t about cinematography, but we witness this scene and it makes everything feel less heavy. So sometimes I think about that scene and everything feels a bit lighter.

What advice would you give someone considering becoming a cinematographer?

To not give up finding people that match with you on a collaboration level and have the same sensitivities, it will happen. Also to never stop making things.

What have been your greatest triumphs and disasters on set?

Setting up a shot or scene and witnessing how all the departments have merged together so well is always a triumph for me. Also seeing a lighting plan coming to life and it exceeds your expectations is a big one. As for the biggest disaster, I struggle when I cannot be fully present on set either due to situations in my personal life or feeling torn with wanting to be somewhere else. That feeling of not being able to be 100% present in either place is quite harsh.

What lights your fire outside of work?

I rediscovered my love for sports recently which really balances my brain out since I started working as a cinematographer. I have a bit of a ceramics obsession and collecting objects.

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

Trusting my gut is the biggest challenge. I’m still learning to listen to it a lot of the time. It’s hard to decipher what is fear, practical reasoning or what decision will make you the happier person in the end. I usually try to go for the latter but it’s tough sometimes.

What piece of kit could you not live without?

Seamus McGarvey BSC ASC said ‘a sturdy bladder’ which is quite accurate. On a practical level I couldn’t live without my light meter and my Artemis app which annoyingly requires a phone.

Which film would you love to have shot?

Hunger, Son of Saul, Sexy Beast, Like Father, Like Son or A Prophet

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

I shot a music video for Bicep this year directed by Aoife McArdle, whom I have looked up to for a long time. Being able to collaborate with her on this project was a big full circle moment.

Shooting my first feature, Harka, and seeing it premiering in the cinema was a dream come true.

Swim Hunt Run, directed by my girlfriend Camille Summers-Valli, is a short film/video installation we shot in Alaska two years ago exploring the conflict that humankind has with the natural world. It was just the two of us shooting on 35mm doing everything which felt really freeing.

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

How it can make me feel.

How would you best describe your approach to cinematography?

I think my approach is constantly evolving but I find myself having the most fun when I have a deep understanding of the creative world of the director and creating a space where you can make a fool of yourself. I’m really liking prep and keeping things simple. To stay true to the story and image but I love a slight amount of heightened realism.

What are your aspirations for the future?

I’d like to gain a better understanding of myself and what I want from life outside of cinematography. Break more into the narrative world and really focus on that. I’d also like to be more respected in the commercial world but my voice of reason says it’s not that important!

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

Inequality behind the camera and to not get caught up in what other people are doing.