Interview with Andrew Rodger
Andrew Rodger, brand new Movidiam Talent DOP, talks to us about his passions and priorities on set.
Who is Andrew Rodger?
I’m a calm, creative and efficient DoP. I began as a painter before falling in love with photography and moving image.
Can you tell us a bit about your career progression? How did you come into cinematography/DOP work?
I started working in the industry when I was 18. Over the past 20 years I’ve worked my way up through the ranks to be a department head, working on big studio movies, TV and commercials.
My journey here took me through sports camera work, news shows, concerts, drama and feature film. I learnt lessons and approaches from each of these diverse mediums and I carry them into my work today.
How would you describe your style?
I’ve heard it described as Beautified Naturalism. It’s often painterly, but I model my lighting on real world situations I observe. It’s the world on a good day, bent to the will of the production’s needs.
I look after my actors and as a result I’m asked to shoot a lot of beauty work. Lighting Kate Moss was one of many highlights.
I’ll often light from outside a set or location, keeping equipment in the room to a minimum.
My work looks natural, but it takes a lot of experience to achieve.
As well as branded content, you do a significant amount of TV work (such as the recently released Series 5 of Plebs); how do you feel moving between these different mediums influences your work?
Working across mediums means you’re exposed to a lot of different ways to achieve a result. I find I can bring across little tricks learnt elsewhere. If I need to achieve something on a commercial, I can get to that faster and to a higher standard because I’ve also done it in a Film/TV situation where time is tight.
Coming up in indie film taught me a lot about what can be achieved when money is tight, and how to care for a crew when you’re up against it.
How about your other creative exploits? What skills/experience do you bring from your musical background into your film work?
Playing with bands since I was a teenager has taught me teamwork and collaboration. I learnt how to work with other artists.
When you’re working towards creating and performing a piece of music, you learn to give each other the space and support to contribute from a place of mutual respect. The finished piece is more important than any personal goal or ego.
As a bonus the kind of informal public speaking you learn on stage in front of a few thousand people helps prepare you for leading a crew of any size.
What do you think is the most important aspect of the director/DOP relationship?
I think communication is the key ingredient. I know I can convey looks, feels and emotions across the spectrum. Paring with a director who can collaborate with me means we can create something greater than the whole.
How about the filmmaker/client relationship?
I take a lot of pride in my work and it’s a joy to know we’ve exactly met or even exceeded their expectations and made something they can be excited about too.
What are your goals for 2020?
I hope to continue to work on challenging and rewarding productions this year and to stay fresh and creative. I care about representation both on and off screen I will continue to be a force for change in 2020.
