“You learn to eliminate, as opposed to adding,” Gordon Willis said of his time making documentaries. “Not many people understand that.”[ Willis, who was the cinematographer on the three Godfather films, All the President’s Men, Annie Hall, Manhattan and many others, once stated: “I’m a mimimalist. I see things in simple ways … It’s human nature to define complexity as better. Well, it’s not.” I have always had a similar philosophy, with my photography, and also with my lighting and post-production techniques. It’s a cliché, but less is, in the end, very often more.
Willis also said: “It’s hard to believe, but a lot of directors have no visual sense. They only have a storytelling sense. If a director is smart, he’ll give me the elbow room to paint”. I love those clients who trust me enough to “give me room to paint”.
I have always studied the work of great photographers. But I have also always paid close attention to, and learned a lot from, the work of cinematographers and filmmakers I admire. I have in mind people like Willis, of course, but also Stanley Kubrick(Barry Lyndon, 2001: A Space Odyssey, Dr. Strangelove), Vittorio Storaro(1900, Apocalypse Now, Reds, The Last Emperor), Roger Deakins(Fargo, Kundun, A Beautiful Mind, Skyfall), Freddie Young(Lawrence of Arabia, Doctor Zhivago, Ryan’s Daughter) and more recently Earnest Dickerson(Do the Right Thing, Malcolm X, Treme, The Wire, Bosch). They all influence the way I see, the way I frame a picture and the way I use light and shadow, and especially color.
Hier ist ein Beispiel Video – eine Werbung der Luxusyacht Riva, die die besondere Atmosphäre eines leeren, stillen Venedigs bei Nacht als Kulisse nutzen….Inspiration, Fantasie und, wie die Story sagt: Never stop dreaming…