Learn From the Best: Emelie Flower Director of Photography
Emelie is a Director of Photography who I’ve worked with time and time again who has continued to impress me every single time she picks up a camera. She is based out of the Midwest and has spent her time working as a freelance Director and Director of Photography on a wide variety of projects including feature length films, shorts, series, and branded content. Her films have brought her to festivals in New York, LA, and Cannes, France.
Crazy thing is she doesn’t just makes films, but she also teaches film. Emelie has worked as an Associate Instructor for Indiana University’s Media School. Most recently, she developed and instructed a filmmaking workshop for high school students at the Bryn Mawr Film Institute in Pennsylvania. She is now helping Pigasus Pictures/Pigasus Institute to develop programing and teach filmmaking at The Bloomington Academy of Film and Theatre.
Who is a DP, Director, or film that has inspired your work as a DP? What stood out about the Film?
“Comet, is a movie I always think back to when I feel confined by the “rules” of storytelling and composition.”
I always say that the French film, Blue is the Warmest Color has been one of the most impactful on my style and approach to shooting. It was the first time I saw such raw, intimate close ups, depicting such a true slice of life. Comet, is a movie I always think back to when I feel confined by the “rules” of storytelling and composition. It’s constantly pushing the boundaries to convey deeper meaning through every little detail. Rachel Morrison and Reed Morano are two really incredible female DP’s who just inspire me as a woman in film. Personally, I admire them both, not only for having insanely successful careers, but for both being women in a male dominated, technical field, as well as for both being mothers.
What to you makes a good shot? Do you have any sort of process when designing a shot?
“I love strategic stillness and motivated movement.”
I’m always impressed by full close ups and empty wides. By that, I mean, a close up that has power and presence, and a wide shot that leaves your subject suspended in the world around them. I love strategic stillness and motivated movement. A locked off shot and a handheld shot can tell two totally different stories. When I’m approaching shot design, I want to capture the performance. I let the action and emotion dictate what needs to be shown and how viewers need to see it. I collect a lot of examples and inspirations, putting together vision boards that capture the colors, light, or theme that I want to get.
How were you first introduced to film? How did you get on your first film set?
“When I got to college, I was cast in a music video… I was fascinated by the pace, the collaboration, and the vision. I instantly knew I needed to get involved more.”
My mother went to film school when she was younger, and it was something we talked about when I was a teenager. I grew up surrounded by theater and thought that I wanted to act. In high school, after I took every photography class offered at my school, my teacher started creating independent projects for me. One assignment was a video project that I willingly dove into without hesitation. When I got to college, I was cast in a music video, where I experienced my first film set. I was fascinated by the pace, the collaboration, and the vision. I instantly knew I needed to get involved more. I spent a few years learning different skills under other filmmakers, before finally finding the confidence to pick up a camera and start shooting my own projects.
What is bad advice you’ve heard or have been given in regards to cinematography?
“Women can’t do this.”
It’s not so much advice, as it was a poor suggestion. I was working on the floor as a product demonstrator for Sony at the National Association of Broadcasters show (clearly deemed qualified by those who provided me with the opportunity), when a male CEO of some production company walked up to me and told me “Women can’t do this”. He was suggesting that because I was a woman, I was not suited for the job I was currently doing. I proceeded to fully inform him of the specs and capabilities of a camera that he clearly knew nothing about.
What is the most common mistake you see beginner DP’s make? Was there a mistake you made often when you were first starting out as a DP?
“Often times, beginners can get too caught up in the mechanics and aren’t considering the art.”
Something I notice all the time, is that beginner DP’s aren’t getting enough, or the right coverage for an editor to put together a well edited scene. I also see people designing shots without taking into account the intention of the text or the performances of the actors. Often times, beginners can get too caught up in the mechanics and aren’t considering the art. A huge mistake that I continually made, was not fully believing in myself and my own skill. I worried too much about what I didn’t know and would constantly be comparing myself to others in my field. Everybody is different, and we’re all on our own journeys.
What was your biggest “failure” of your career that you’ve learned from or that set you up for later success?
“There comes a time, when you start to develop and discover yourself as a creator, and you have to guide yourself in a certain artistic direction.”
I used to say yes to every project. In the beginning, I would take on anything that was presented to me because I wanted the experience. I think that is important. However, there comes a time, when you start to develop and discover yourself as a creator, and you have to guide yourself in a certain artistic direction. Once you’re in a spot to say no, wait for what’s really worth it for you.
What is the best investment (time or money) you’ve made in pursuit of your career of a DP?
“It’s important to surround myself with the people that keep me inspired and productive.”
My biggest investment has been in people. I love the network that I’ve built, and continue to build every day. Like a lot of artists, I struggle a lot with self doubt, so it’s important to surround myself with the people that keep me inspired and productive. I’d be nowhere without my team.
If you could go back in time to when you were first starting out as a DP and could tell yourself only one thing, what would you say?
“You know enough, but you can always learn more.”
There are two things I’d tell myself. First — believe in myself, and find those who believe in me. Second — you know enough, but you can always learn more.
What is your favorite set you’ve been a part of? What did working on that set teach you?
“We had big ideas and a small budget, but I don’t think we truly had to sacrifice a thing.”
Every set teaches me something new through a unique experience, so I don’t think I could ever pick just one. Back toward the beginning of college, I shot my first feature length film, which was an adaptation of Shakespeare’s Titus Andronicus. I was pretty insanely inexperienced, but incredibly eager, and to this day, I’m still so thankful for the people that took a chance on me and encouraged me during every step of that journey. It was a great opportunity to navigate the challenge of shooting a cohesive, long form vision. Second in line, is my experience on a short film called Siren. We had big ideas and a small budget, but I don’t think we truly had to sacrifice a thing. The team we had, really made all of our efforts and visions come together to create a unique piece that I can say, we are all proud of to this day. Most recently, was a 16 hour, overnight shoot, for a 26 page script titled Split Ends. Our small crew trapped ourselves in a small, rural, high school all night to shoot an honest and intimate moment in the lives of 3 friends at a high school reunion. I think we could all sincerely connect with the material and it made it that much more important to us. It was such a pleasure to watch a group of people bring nothing but honesty to the screen.
What was your favorite “movie magic” moment on set and how did you pull it off?
“We couldn’t really find the right location for, so I had the crazy idea to just build it ourselves.”
When we shot Siren, there was a specific set that we couldn’t really find the right location for, so I had the crazy idea to just build it ourselves. I think everyone thought I was insane for a minute, but I we ended up doing it, and I wouldn’t have had it any other way. It was that much more meaningful watching those shots, knowing the extra work and care that was put into making them come together.
What advice do you have for aspiring DP’s on how or where to start?
“Shoot something and find the people that are going to share your passion.”
Just start. Everyone has a phone with a camera or a DSLR these days. Shoot something and find the people that are going to share your passion. Find your style, but try something new every time. Don’t be afraid to get and give constructive criticism. We can all learn something from each other.
What’s next for you and how do you plan on challenging yourself?
“I’ve been fascinated by raw, intimate, slices of life that you’d walk by on the street and barely notice.”
Lately, I’ve been fascinated by raw, intimate, slices of life that you’d walk by on the street and barely notice. I want to focus in on those moments. Those are the moments that real lives are truly made of. I also want to push myself to use more wide shots. For anyone who knows me, they know that that’s something I stray from. But I’ve been really drawn to them, so I figure it’s time to challenge myself.
Anything else you’d like to say to the readers?
“Have fun with it!”
Have fun with it! Filmmaking is a collaborative, creative, medium. Work together to make something great, and be great while doing it.
Keep up to date with Emelie and check out her work!
Instagram: @worldsprettiestdad
Cinematography Reel: vimeo.com/emelieflower/reel
