DOP EGO...

[Ramesh Jai]

What a topic! I'm sure everyone feels like that inside but no one really wants to admit.

 

[DCC Erickson]

What a topic! I'm sure everyone feels like that inside but no one really wants to admit.

If you're happy in your work, why do you need someone else to give you strokes? If I want attention I'll say "look at me!" I would much rather people look at something I did and say "Look at THAT!"

 

[Justin Chin]

if you catch yourself thinking the film was only good because of you, it's going to become a problem at some point.


David

The people who understand the industry will know who is responsible for what. That's the praise that really matters. Your work will show in your reel.

If you're looking for credit for all the little things you do "outside" your job spec, and believe those made the film successful, then you're either in the wrong job, or you'll begin to consider it part of your particular job spec and move on.

I believe one should never let your ego get in the way of a work you're hired to be a part of, as well never dismiss a better idea/shot just because you didn't think of it.

 

[Dylan Macleod CSC]

I'd say - get used to it. It is part of the job. The better you make the director look - the more they will hire you. There is one director that I worked with recently who blatantly claimed a suggestion I made as his own and was praised by everyone. This was a very general "story suggestion". I just smiled and shook my head. He regularly praises my work - so it is a symbiotic relationship.

 

[David Mullen ASC]

If the movie looks good then you (the DP) will benefit, period, so I wouldn't worry about the director getting the lion's share of the credit, thats just the nature of movies. I'm sure screenwriters feel similarly.

It does irk me, however, that I've never been asked to do a DVD commentary, which just shows the lack of respect and/or interest that distributors have in a cinematographer's work. I'm generally ignored in any behind-the-scenes EPK's as well. It's not so much an issue of my ego, but long-term historical documentation, an issue that matters a lot to me. Imagine the historical benefits to the art form if someone had done a documentary on Jordan Cronenweth while he shot "Blade Runner"!

 

[Mike P.]

If the movie looks good then you (the DP) will benefit, period, so I wouldn't worry about the director getting the lion's share of the credit, thats just the nature of movies. I'm sure screenwriters feel similarly.

It does irk me, however, that I've never been asked to do a DVD commentary, which just shows the lack of respect and/or interest that distributors have in a cinematographer's work. I'm generally ignored in any behind-the-scenes EPK's as well. It's not so much an issue of my ego, but long-term historical documentation, an issue that matters a lot to me. Imagine the historical benefits to the art form if someone had done a documentary on Jordan Cronenweth while he shot "Blade Runner"!

I think DVD commentaries are more for the consumers' entertainment than for historical purposes... They want to hear what Johnny Depp thinks about playing Jack Sparrow, not what lights were used or overly technical information. Sure other filmmakers are interested, but the majority of people buying the DVDs/Blu-Rays probably don't care. With that in mind, I kind of understand why most areas of filmmaking are often overlooked for commentaries.

As for a cinematography documentary; that's something I'd be interested in seeing (or even making). I'm not sure how well it would sell, but as a webseries I'm sure everyone would link to it (especially if it had people as credible as you in it, Dave.) As campy as he is at times, I think Shane Hurlbut does a pretty good job with his website - posts up how he lit specific scenes and even tackles some of the gear he uses (from entry-level hardware store lights to full-on professional kit). Also, Terminator Salvation and Into the Blue both looked pretty rad, so you can't knock his results.

 

[Hrvoje Simic]

"If creativity is perceived as openness to the flow of inspiration and expression, and mastery as sufficient energy invested into one's growth,
that image may show that ego and its strivings have the potential to suffocate the essential elements one requires."

 

[Sven Seynaeve]

It's just like in a music television show, they only film mostly the lead singer, even when he or she shut's up. some flashes of a drummer too fast to recognize him, and then some shots with lot's of effects mostly to return to the singer, which was already boring in the first place. I have indeed seen a lot of behind the scenes where you have to pauze and rewind every thime something interesting is happening, sometimes it's even impossible to pauze, just because it's edited so that you wouldn't I guess.

 

[Matt Ryan]

My personal take is by choosing a career path as a DP, your life will always remain behind the camera and only appreciated by few.

 

[Erich Ocean]

Yeah, you are right, and I do fully embrace the Director, always, trust me. It's not like I want to run the show, not at all...and it's not like I want credit for the film....Just pointing out that lately I feel I have brought a LOT to the films I've been shooting only to hear from other's how amazing the Director was.

Okay, I'm a director and I'll chime in on this.

There's the public face of the film – that's the director/writer combo. And mostly the actors.

Ignore that part, it's for the public, not the industry. Anyone actually working in film knows how films are actually made, and who is important, and why. If you're killing it on the photography, the people that can hire you (e.g. other directors) will notice.

So keep doing what you're doing and ignore the stuff being told to the public. If you're looking for admiration, look for it within the industry*– from your peers. That's all that matters anyway.

 

[Bing Bailey]

I'd love to have a DP Commentary on my film , I had a great DP on Portrait of a Zombie , Clayton Haskell , a regular round these parts. I'm sure the fact that there generally aren't DP commentaries is to do with money. studios/producers don't want to pay the dp to do a commentary or the actors or anyone for that matter.

 

[Mark Allen]

If you are ever feeling too sorry for yourself for lack of recognition, just think about how production designers feel when most people, if they think something is pretty to look at, will actually bother to mention the DP finally - but how often is what they're pointing out actually the colors of the costumes matching the sets and other textural details?

There are just too many contributors to movies for an audience to recognize all of them. The only real solution is to collectively take pride in the film itself.

 

[ian dart]

dop ego hah...... what about the contribution made by the gaffer.......then again we are just happy if the cheque clears......

 

[Peter Strietmann]

Pay no attention to the man behind the curtain. But for gods sake give him credit!

 

[David Battistella]

@david mullen

The idea of long term historical documentation is very close to my thinking as well. But maybe it would be effective toninclude in your blog, maybe asking to use certain scenes as teaching tools and then include lighting diagrams, approach, lens data on the specific scenes.

Just ten scenes or situations presented this way on your website would, I feel, go much further toward documentation and education, than the DVD commentary for one film or some EPK stuff.

Just a few thoughts.

David

 

[Phil Holland]

I think the most powerful recognition for cinematographers is by their peers. And there's avenues that exist for that as they are recognized by the Academy, interviewed in magazines/blogs/radio/television, get hired to produce more work, etc....

I didn't pick up a camera to get famous. I'd rather do the work and let that stand on it's own.

In the situation described by Matthew, if the relationship is strong with the director, he'll mention your efforts in the public arena if the situation calls for it. For instance there have been interviews with Fincher, Cronenweth, and Reznor (on the music side) everywhere for TGWTDT. All within sight of the "public eye". There's been a lot of talk about Fincher, but there's also been a lot of discussion on the collaborative efforts and trust developed between individuals to contribute their talents. Now if Cronenweth gets a nod or a win for cinematography, then his efforts will have been rewarded at the highest level you can achieve in this industry.

 

[John Allardice]

.... For example, who shot TGWTDT!? We all know the Director and we read how amazing the film looks (and agree after seeing the trailers) but how much of that look is David responsible for?

Oddly enough...you've probably picked one of the few examples where the director himself is responsible for the look to an enormous degree. Take a look back through his whole oeuvre and you see a stylistic consistency in lighting framing & motion, regardless of the DP ( I'm not minimising Jeffs talent here, he is quite staggeringly worthy of the family name) There are directors out there who could shoot their own films,( Fincher and either of the Scott bros. leap immedeately to mind...but thery're not the only ones) they don't simply because, as anyone will attest to, they've got enough on their plates already.

 

[Matthew Scott]

I'd just like to mention that I've read all of your responses and have really enjoyed them. I was on set today and it all felt different...so thanks The biggest one that clicked with me was that I'm getting "shots", not actually finishing a film. The Director (post team and many more) have a long road to travel before the film is even near finished, where as I'm done the next 10 days! It's been very insightful to hear what experienced DP's think about this, so thanks once again for sharing

 

[David Battistella]

Great Matthew!

I hope you are producing some amazing images for the film you are working on!

David

 

[Scott Crawley]

Oddly enough...you've probably picked one of the few examples where the director himself is responsible for the look to an enormous degree. Take a look back through his whole oeuvre and you see a stylistic consistency in lighting framing & motion, regardless of the DP ( I'm not minimising Jeffs talent here, he is quite staggeringly worthy of the family name) There are directors out there who could shoot their own films,( Fincher and either of the Scott bros. leap immedeately to mind...but thery're not the only ones) they don't simply because, as anyone will attest to, they've got enough on their plates already.

When you mention Ridley Scott I have a Pavlovian reaction that causes me to utter things like production design. It's embarrassing sometimes... I had to delete it. If cinematography were spoken language then I would certainly agree they each have identifiable accents.