It was a Sanyo 8 mm analog video
camcorder which I got from my granddad
when I was about 15 I think.
I think I wanted to be a Ghostbuster or possibly a writer, an author.
Yeah, I don't think they really took me
seriously for a while, my mom took maybe
four or five years of me being freelance
and she finally saw one of my films and
kind of figured out I guess you can do
this. My dad really it was probably
another ten years it wasn't really till
he retired I think really really
mellowed out and got on board with it.
I like a 32mm I think I'd pick up a Cooke S 32 if I had to choose just one.
That would be the Production Designer. If you can have a great collaboration with a designer,
you can really make each other look great.
Well with interiors you're always led by
where the windows are, exteriors it's all
about where the sun is but then if it's
night exterior you're free and where to
put the moon so it's kind of a blank
canvas
so it's really in most cases, the
style is driven by where is the natural light anyway,
so that's always the first
thing I'm looking for.
Both are important as Bob Russ always says "You need the dark to show the light".
I think that would be the Kyle of Lochalsh which is between the Isle of Skye and the Scottish mainland.
just stunning.
I'm not on Facebook anymore so definitely Instagram for me.
Back to the future, parts two and three, Ghostbusters, Alien, Aliens,
Terminator, Garden States, Sideways, Moon, Moon is a great one.
Life on Mars, which is a great British only, the original British version, not the American remake.
I use Artemis, the viewfinder all the time and Helios for sun tracking.
and sometimes Arri's Photometric App, but Artemis and Helios mainly.
Patrick Stewart, aside from being a great
actor,
I just think he seems like a really nice
guy.
Mostly long-form DPs like Ole Bratt Birkeland,
Ula Pontikos, Suzie Lavelle, Adriano Goldman.
So many things but I did a short once where the location was at the end of a long single lane track,
and the camera truck kind of crashed and got stuff and blocked to the track so some
vehicles were stuck one side of it
somewhat stuck the other side,
we couldn't get the generator where it
needed to be we couldn't get the picture cars,
where it needs to be, it was an
absolute disaster, and then we were stuck
for three hours after wrap time
waiting for a recovery truck to pull the
camera truck out of the way so we could
all get out and go home.
Either Labyrinth or Back to the future 2, I watched those many many times when I was a kid on VHS
and quite a few times as an adult as
well.
The Mysterious Island by Jules Verne,  for the second time, one of my all-time favorite books.
Probably a very spicy chili with
guacamole and salsa and nachos and cheese,
and all that good stuff.
When I was 18 or 19 and I was in my gap year I did a short film course
and the DP, he was teaching that said don't bother going to university,
and getting a degree
if you want to get into this industry
because it's not worth anything and I
took his advice and I didn't go to
university and just started working on
sets and that worked out really well
