Cinematographer Michael Coulter, BSC talks about creative freedom, working with directors to create a film’s look and atmosphere, and advice for new DPs.
When working to create the look and atmosphere of a film, how much creative freedom versus direct instructions from the director do you get?
Michael Coulter, BSC: As is often said, film-making is a collaborative effort. Each director one works with is different in their approach; some are very organized with storyboard frames, etc. Some even know whether they want to pan the camera left or right at a particular point. I have even shot some stuff where we had playback of a particular piece of music to guide our camera moves. Other directors will work in a more “organic way”, and are very open to what might occur on set on the day of shooting. I find my creative freedom comes from finding a way to deal with any kind of situation that arises, and hope I find a way that pleases both me and the director, of course.
Over the years, you’ve worked on a number of movies
Actually” and “Notting Hill”, which have a very specific feel and aesthetic to them. How do you work together to create this consistency?
Michael Coulter, BSC: Richard Curtis wrote both of the films but only directed “Love Actually”, but he was always at the monitor whether directing or not, and I guess his influences were always there in a subtle way. Also, we are similar in age and both lived in that same part of London, and we were trying to create the world that was around us at the time. So I guess we were both singing from the same “hymn sheet” without realizing it.
Many of these and other films you’ve worked on have been romantic comedies. Is this an aesthetic that you particularly enjoy creating?
Michael Coulter, BSC: Yes, I have shot a number of rom-coms but that choice was always based on whether it was, first and foremost, a good script. When reading a script I always ask myself, “would I want to watch this film?” If the answer is, “yes,” then that is the starting point.
Which cameras and techniques do you use to achieve the gentle ambiance in the movies?
Michael Coulter, BSC: I am a great fan of Arriflex cameras whether film or digital. They understand what technicians need in the field. I am also a fan of natural and, in general, soft light.
When working on an ensemble comedy, such as the renowned “Love Actually”, how do you make each character interesting and individual with the camera work?
Michael Coulter, BSC: On this point I have to say that one of the most wonderful things about this industry is being witness to what actors bring to their roles. The cinematographer can use some techniques in lighting and camera angles but ultimately it is the actors who make the character interesting.
How does this compare to working on a film that has more of an action/thriller genre, such as “The Bank Job”?
Michael Coulter, BSC: I enjoy the variety of styles that different movies offer. “The Bank Job” offered the opportunity to move the camera much more freely than one would have had on, say, “Love Actually”. We used the Steadicam a lot on “The Bank Job” and that presents its own problems. I am often asked about my role and I say I work “where art meets industry” and I love being there and dealing with whatever comes along. Often, when I am at the viewfinder with something beautiful happening in front of the camera, I turn around and see the people and the machinery that have gone into creating it and it always makes me smile.
What do you feel is one of the most successful scenes in the films you’ve worked on?
Michael Coulter, BSC: One of the scenes I am most asked about is the ‘changing seasons’ scene in “Notting Hill”. People think it was complicated but really it wasn’t. It took a bit of planning, and a lot of good fortune. In the end, we had a fabulous shot that a lot of the audience remember. So I guess that has to go down as one of the most successful scenes I have shot.
What projects are you currently working on that you can share with us?
Michael Coulter, BSC: Features I can’t speak of at the moment, but I shoot a lot of TV commercials which present a lot of new and varied challenges.
If you can share a quick tip with filmmakers around the world, what would it be?
Michael Coulter, BSC: I think each cinematographer has his/her own tips etc. What can I say…don’t be late on set, keep it real, and if it doesn’t look right through your viewfinder then it ain’t right for you, so change it! Good luck!
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