GIRL ON FIRE

Filmography so far:  

Girl (feature, 2023) Dir. Adura Onashile  
In Camera (feature, 2023) Dir. Naqqash Khalid 
Traces S2 (TV, 2021) Dir. Chris Foggin 
Enjoy (short, 2021) Dir. Saul Abraham 
Adulting (TV, 2019) Dir. Ash Morris 
A Mother’s Love (TV, 2018) Dir. Anwar Boulifa 

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

From a young age I loved stills photography and I thought that’s what I wanted to do. I was interested in the way a single image can tell a story without any words. That visual imagery can convey so much. But I was also interested in performance, the poetry of a script, and the moving image. And I love working with other creatives as a team. When I realised there was such a thing as a cinematographer, it seemed like the perfect combination. 

Where did you learn your craft?  

I studied a media arts course at BA level. To be honest it wasn’t particularly helpful in teaching me the technical skills, but I did come out of it convinced camera and lighting were what I was most interested in.  

I couldn’t afford film school so instead I learnt on the job and shot shorts in my spare time. I was an AC for over 10 years and was lucky to work with some amazing cinematographers, and learn by observing them and chatting to their gaffers about lighting. 

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

In the Mood for Love (2000) Dir. Wong Kar-wai, Cin. Christopher Doyle HKSC and Mark Lee Ping-Bing – Visually stunning, not just for the cinematography but the set and costume design.  

Whiplash (2014) Dir. Damien Chazelle, Cin. Sharone Meir – For the sheer intensity and character studies.  

Most recently Aftersun (2022) Dir. Charlotte Wells, Cin. Gregory Oke – I was really moved by this, it’s such a brave debut film. 

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Who in the film world inspires you?  

I am inspired by those who reinvent the norm and stand by their own approach. Seeing directors and DPs who are balancing motherhood and a successful career, including Autumn Durald Arkapaw ASC, Rachel Morrison, Reed Morano ASC, my dear friend (writer-director) Stella Corradi. 

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

I was very lucky to have Sean Bobbitt BSC as a mentor, having assisted him on Hunger and a number of other projects. He taught me a lot about lighting and composition, and the importance of being kind and respectful to your team. He also told me to just get out there and shoot stuff myself! 

What advice would you give someone considering becoming a cinematographer? 

Even if you go the film school route eventually, get on set as an assistant and talk to and learn from as many people as you can. Try to use your time as a trainee and assistant as a training ground. The more you understand and respect everyone’s job, the better. Then shoot as much as you can on your time off so you can learn from your own mistakes! 

What have been your greatest triumphs and disasters on set?  

Triumphs… Sometimes, the visuals and performance come together and you find something beautiful that just works. Disasters… I shouldn’t be allowed a radio. I only ever say stupid things and waffle! 

What lights your fire outside of work?  

My beautiful, creative and happy daughter. 

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

Making the move from assistant to DP and building my confidence in my own work. I combined making the move up with becoming a mother and the industry isn’t the most supportive for juggling family life. There is always a way to make it work, though, even if it means a slower move to establishing your career. 

What piece of kit could you not live without?  

I use a pola whenever I have the stop to shape light on faces. I also find Artemis and Cadrage so useful on set and on recces. 

Which film would you love to have shot?  

In the Mood for Love (2000). 

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

I’m really proud of the feature film Girl, which premiered at Sundance this year. I think the whole creative team collaborated to create a beautiful visual language from Adura Onashile’s poetic script. It was lovely to experience set and costume design marrying with lighting and composition in such complementary fashion. 

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

Best: Collaboration and the camaraderie on set. Viewing life through a lens. 

Worst: Time away from loved ones. Toxic and bullying behaviour being enabled and normalised. 

How would you best describe your approach to cinematography?  

Instinctive, human, endless tweaking until I’m told to stop. 

What are your aspirations for the future?  

To work with creative and collaborative people on projects that move me. 

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

To diversify the voices behind the camera by giving opportunities to new entrants from all backgrounds at junior level and support their progress upwards. To tackle the toxic culture that the on-set hierarchy has enabled over the years. To support the family lives of crew members better through kinder hours!