FINNISH FLAIR

Filmography so far:  

TV: The Rig (2^nd unit DP); Luuserit (episodes one and two, cinematographer). Shorts (as cinematographer): Caterpillar; A Film About a Pudding; The Retreat; A wake; I’m Listening. 

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

It took a while. I grew up in a small town in central Finland and nobody in my family worked in arts and culture. As a kid in the late 90s I watched loads of MTV and those music videos opened up a completely new and exciting world. I ended up studying audio-visual media and right away, I was most keen to work with camera and lights.  

 When I got my first experiences as a lighting trainee in TV and feature film sets, I was overwhelmed to learn what exactly the role of a cinematographer includes and how much knowledge and responsibility it seemed to demand. Honestly, I thought I could never do it myself, but figured I could maybe become an AC if I worked hard. 

Where did you learn your craft? 

I worked as a 2nd and 1st AC for about seven years and gained a lot of set experience and worked with many cinematographers. I learnt all the basics and meanwhile shot zero-budget short films, music videos and small corporate and commercial work. To further improve my skills and focus on narrative storytelling, I finally applied and got into the NFTS. 

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

Lost in Translation: This film is somehow always in the back of my head. It made such an impact when I first saw it, and still does. I simply love the mood. 

Shoplifters: Humane and beautiful story. 

Fuocoammare: Strong, impactful and cinematic documentary film. 

Who in the film world inspires you? 

I always look forward to seeing the cinematography of Rodrigo Prieto ASC AMC, Robbie Ryan BSC ISC and Sean Bobbitt BSC. I’m a big fan of Néstor Almendros ASC and Harris Savides ASC too. 

I’m also inspired by the unique voices of directors like Andrea Arnold, Céline Sciamma and Lynne Ramsay. 

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

“A shot in a sequence is like a word in a sentence” reads in the cover of my notebook. A quote from NFTS directing tutor Brian Gilbert. 

What advice would you give someone considering becoming a cinematographer? 

Oh wow, I’m used to being the one asking for advice! But I guess – trust yourself and your instinct. Especially with lighting. I learnt a lot from documentary filmmaking and school exercises when you practically light everything yourself or make some quick calls based on natural light and the space. 

What have been your greatest triumphs and disasters on set?  

Last year, thanks to John Lee BSC, I got a chance to do some 2nd Unit cinematography for upcoming Amazon TV series The Rig. It was an amazing experience to get to work on a big scale production with extensive set build, ambitious visual language and highly professional crew and cast. I take it as a triumph for getting invited back several times! 

 I think (and hope) that I have experienced my biggest disasters in my early days as an AC, like inserting wrong frame lines and recording Rec. 709 instead of Log… Not my proudest moments. 

What lights your fire outside of work? 

Snowboarding, which I should do more often, and playing squash, which I wish I was better at. I love exploring new places but also spending simple summer cottage life in Finnish nature. 

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

It was a big challenge to decide to quit ACing and hope you can make it as a DP. Similarly it was a huge life change to go back to school and move to London. I just listened to that 10-year-old daydreamer inside me saying, “You know what would be really cool?” and decided to trust myself. 

What piece of kit could you not live without? 

A good fluid head! There’s not many things worse than unstable camera movement in your hands. 

Which film would you love to have shot? 

Ida. Every single frame is a painting. Or Happy Together which is just a masterful piece of art. 

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

A short film called Caterpillar, my graduation film from the NFTS. It was challenging but rewarding to create seamless cuts from studio interior to location exterior. I’m proud of my collaboration with director Marcus Anthony Thomas and of the atmosphere on set we managed to create. This film also got me nominated for Best Student Short Film at the BSC Cinematography Competition last year. 

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

Best is the magical moment when things just click on set. The moments when you look at your eyepiece and you feel that the performance hits the nail and you’re capturing it in a way that makes justice for it. 

 Worst must be the uncertainty of freelance life. It’s difficult to plan your personal life when you’re rarely certain about your schedule.  

How would you best describe your approach to cinematography? 

I like to be well prepared but to keep my eyes and mind open on set. I would like to see my approach as sensitive and intuitive yet firm and considered. 

What are your aspirations for the future? 

Shooting a feature film is definitely a goal. I hope I would get to work on meaningful, exciting and important stories with good people. 

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

Long working hours. And going green.