WEDDINGS AND THE CINEMA OF THE REAL
WHY WEDDING FILMMAKERS SHOULD GET INSPIRED BY CINEMA
I’m forever shocked when I speak to videographers and they tell me that they don’t watch many movies. Not because I’m a cinephile snob (more of a dork than a snob), and not because I desperately want to have someone else I can ramble to about one of my oldest passions - but because, at the heart of it, we’re filmmakers. Storytellers and visual craftspeople who’s job it is is to record the images of the now to preserve for later.
So why not go to the source?
Now, before I have fellow cinephile smart arses descend on this blog well-actually-ing me from the side of the smarmy mouth - I’m aware that we don’t have a blockbuster lighting budget, or the strength of ten grips and gaffers to achieve the perfect sunset. But you can be inspired by it.
I hazard to give them any kudos for what they’ve done to the idea of going to the theatre, but entities like Netflix and Prime Video are libraries at the fingertips of the yet to be inspired. Pick a movie. Hit play. Take notes. No, you’re film is not going to look like Avengers: Infinity War (and you don’t want it to) - but it could have the gritty creaminess of Sicario, or the foreboding contrast of Se7en. A videographer could be inspired by the vintage lens choices of Greig Fraser or the frenetic black and white freedom of Breathless. It’s all there, waiting to be pilfered and stripped for parts.
Pablo said it best - “good artists copy, great artists steal”. I use Sicario and Se7en as examples because, for years, there were specific shots I was chasing in my own wedding work that I was inspired by in those films. I wanted the gradated, deep blue sunset of the former, and the striking, yet barely lit cave of grand library from the latter. I achieved them both, and my films are better off for them. I can’t do that without being inspired and influenced by cinema.
I started this little adventure with a camera with a singular focus in mind. I wanted to be a better shooter. I was inspired by the stories I had heard about likes of Roger Deakins and Wally Pfister - world class cinematographers who got their start as documentary camera operators or news crew. Sure, being on set is nice, and you can learn a gargantuan amount being in a high pressure situation with some of the best creative minds around. But there’s nothing like cutting your teeth shooting a live event. And I came to that conclusion because of the inspiration from people like Deakins, whose philosophy of simplicity and emphasis on every ray of light having a source resonated with me the most.
Sure, inspiration can come from anywhere - but as a filmmaker, the best inspiration comes from the source - a dark room with a big screen. And, preferably, a bucket of fresh popcorn.
