Guru

Damian Daniel: Brits to Watch

Posted: 9 Nov 2011

Cinematographer and Brit to Watch Damian Daniel began his career working on shorts, before working on feature films The Shouting Men and Johnny English Reborn. Here, he discusses the camera that inspired his career choice, the cinematographers he’s a fan of and his advice about how to break into the screen industry…

Damian Daniel. A man wearing a black suit standing in front of American and British flags.
BAFTA/Barry J Holmes

BWhat first inspired you to get into your craft?

DDI was given a Super 8 camera as a present one Christmas. I love the Super 8 format and still shoot with it. I try and include it in as many projects that I work on as possible.

BHow did you first break into the industry?

DDI got into the industry by working as a floor runner. I didn’t come from a photographic background and didn’t have a clue about the film and TV industries. It was a friend of mine who had just started working in a camera facility house who told me that the best way in was to approach production companies and ask to be taken on as a runner. I spent a year working on the sets of game shows, pop promos, commercials and dramas. I worked in several departments before being drawn to cameras. I worked my way up from camera trainee to loader and focus puller before making the leap to lighting cameraman.

BWhich professional figure in your field do you find the most inspiring?

DDI love the work of Ernest Dickerson, Spike Lee’s cinematographer who shot Do The Right Thing and Mo Better Blues. I’m also a big fan of Barry Ackroyd for his work with Nick Broomfield and Ken Loach.

BIf you hadn’t managed to break into your field, what was your plan B?

DDThere was never any question of a plan B; I’m doing everything I can to make it happen.

BWhich film(s) do you wish you could have worked on?

DDI would’ve loved to have shot La Haine and City Of God.

BWhat single piece of advice would you give to a young person trying to break into your discipline and get noticed?

DDAlways show enthusiasm, passion and take a real interest in how things on TV and in the cinema are shot and lit. Also be prepared to do more than is necessary.  If you can get your hands on a camera, any camera, shoot as much as you can.

BHow important is knowing people? Is raw talent enough?

DDKnowing people is very important. As a DoP you should try and get to work with as many different directors as possible. Some you will get along with, others you won’t, but each will have different ideas and it is the only way to keep getting experience and developing your craft. It is now very easy now to get your work online and seen by many people but ultimately, it doesn’t matter who you know, if your work isn’t any good.

BHow do you think the UK film/TV/games industry will change in the next few years?

DDTechnology is having such a big impact on the industry, so it’s going to be crucial for people working in the camera department to keep up-to-date with new developments.

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