Frustrations as a DP

[Hanno Mertin]

Dear Mr Deakins, I have just read this passage in your REFLECTIONS book:

“Films change from the script, through budgeting, scouting, storyboarding, and rehearsals, and on set when the actors and the day bring their own inspiration. But it’s not until the final edit that the film becomes what it is.”

 

I can embrace all the changes and love the challenge and unexpected magic the constant shape-shifting of a film brings, but I almost always suffer when I see the film take new paths in the edit. I am rarely if ever involved in the creative decisions made there and the directors I have worked with, sometimes at least, have seemingly forgotten the conceptual thoughts put into the visual structure and flow imagined for the scene. These directors I have worked with are often more actor-oriented, not very technical in their nature (like a Fincher or Hitchcock, from what I have heard). It has even lead me to consider a switch to editing, because I care for the story in the end, not so much about the technicalities and “toys” on the set – but where am I more involved, in the dream phase of the prep and the realities of the shoot OR in the editing room, potentially with dozens of opinions behind my back as an editing program nowadays is understood by so many more people then for example lighting is… I hope I am not rambling too much.

 

I wonder, how did you deal with such frustrations? Have you experienced something like that? Maybe with “Jesse James”, in yours and James Podcast you said you always loved the Directors Cut more. That must be so frustrating as those are seen much more rarely. Have you learned to “let go” and was there a moment in your career that that initiated that?

 

 

@hannomertin
Cinematography Student | Filmakademie Baden-Wuerttemberg

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