Focusing the Eye Through Composition

An Interview with DP Neal Fredericks

by Jennifer M. Wood | Published February 3, 2007

On a hot day in June 20003, I was on Universal Studios’ back lot in Hollywood, surrounded by cranes, dollies, cameras and lighting equipment—more than enough of everything to make the feature of my dreams—or yours. But no film was rolling, and nobody would stop the action for another few hours. I was at CineGear, the annual movie industry show where vendors set up their wares under sun canopies, like a high-street art fair.

I was talking with George Spiro Dibie, then National President of Local 600, the Hollywood camera operators union, when George said “Do you know Neal Fredericks, the man who made Blair Witch?” He introduced me to Neal, and I commented that for a while, there was hardly any article in the trade press that didn’t mention Blair Witch.

I felt I had to ask the inevitable question: “Did you do really well out of that?” Neal touched the tips of his right index finger and thumb to make a silver-dollar-sized hole, and then stuck the tip of his left index finger into the circle. “I made this much,” he said, with a grin.

We talked on the phone a few times, and corresponded by e-mail. I recall he was very proud of the movies he had DP’ed, and felt like his career was beginning to happen.

Now Neal is gone, the victim of a plane crash caused by engine failure while filming on location in Florida. The movie theater-going public knows little of the struggles that go on behind the scenes, the striving to attain the level of professionalism that denotes a cinematographer and the dramas—and sometimes tragedies—that occur in the making of a movie.

I recall the words attributed to the Buddha, that all things are impermanent, especially our own lives, and that we should therefore live them with that awareness in mind. And being thus aware both of the preciousness and ephemeral nature of our human existence, that we should not take our own lives, nor those of our friends and colleagues, for granted. We walk this earth for a limited period only, unaware of the time that is left.

Yet it seems to me that a cinematographer walks a privileged path, versed in an art that celebrates and proclaims the beauty and diversity of life. We have lost a colleague, a fellow cinematographer, who died doing the thing he loved most. Let us pause for a moment in the headlong rush of our profession to remember Neal, and to appreciate our colleagues who are left.

—Robert Render Harrison

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DP Neal Fredericks

Though movies account for many a cinematographer's career path, real life can be just as inspiring. Just ask Neal Fredericks, the man behind the camera on such independent fare as The Stonecutter, Killer Me, Dreamers and, most notably, The Blair Witch Project. With his father employed by the US Navy, Fredericks relished the opportunity to live in such diverse-and beautiful-places as Guam and Spain. Of the experience, he says "I was able to travel the world at a young age and was exposed to many different people, places and cultures. I believe this had a positive impact on my career path as a cinematographer."

With 10 years of experience in feature films, television, commercials and music videos, Fredericks has built a reputation based on talent and professionalism. Here, he shares with MM the secrets to his success and the reality behind Blair Witch.

Jennifer Wood (MM): How did you first become interested in cinematography? What was the first film you recall watching where you realized that there was something going on behind the scenes-that there was a moviemaking process?

Neal Fredericks (NF): There wasn't a particular film that inspired me to work behind the camera, but the experience of seeing films in a theater with an audience did. During my childhood my parents would often take me to the movies. Seeing how an audience would react to what was happening on the screen led me to be a cinematographer. Experiencing Blade Runner on the big screen in 1982 with my family had a profound effect on my career path.

MM: You've worked in feature films, television, commercials and music videos. What are some of the adjustments you need to make to your own style and/or work habits when shifting mediums?

NF: Actually I follow the same train of thought no matter what the medium: to put the director's vision on film. On feature films I find it possible to experiment more and really push the envelope. On music videos and commercials you usually have many more people to answer to than just the director. I find this frustrating at times, but I have had some of the best times as DP on music videos.

MM: Describe your ideal director-cinematographer collaboration?

NF: My ideal collaboration is with a director who can visualize his/her project before a foot of film is shot. This usually comes from directors with experience, but I do occasionally work with first-time directors. I prefer to be hired as soon as possible in the pre-production phase. This does not always happen in the case of independent films. I believe the director/DP collaboration should continue through post-production. The DP needs to be there through the film's print timing and film-to-tape transfers.

MM: Do you prefer to have a lot of freedom on the set, or do you prefer working with a director who has a strong idea of what he/she wants to see on screen?

NF: I am very comfortable working with both of these descriptions. Being flexible with a director's working style is part of my reputation as a DP.

MM: How often have you worked with storyboards and is this something you enjoy?

NF: I do enjoy working with storyboards. When working on a limited budget and shooting schedule, they can be a necessity. I believe that working off storyboards can allow you to experiment even more. They also give everyone an idea of what needs to be accomplished on any given day.

MM: How much importance do you bestow on the particular genre that you are working in? Do you do any research, looking back at other films from the genre, to figure out what you might want to do with the camera and how you might want a particular shot to look?

NF: I only do research when I think it's necessary. For a recent thriller, I viewed The Texas Chainsaw Massacre and The Evil Dead. On a recent fantasy feature I did none- I just let the location inspire me for ideas.

MM: You've worked a lot in the horror genre. Is this by coincidence, or by design?

NF: Working in the horror genre is great. Most of the time, the horror films I've done are character studies at their cores. I've worked in every genre but feel no pull to any in particular. What inspires me are great scripts and directors with visions.

MM: You've worked in all sorts of mediums, from Super8 to 35mm to DV. Is film your preferred format?

NF: I have to admit that my preferred medium is motion picture film. The 'digital revolution' for independent filmmakers seems to be a situation where quality is sacrificed for quantity. I've shot many productions on tape (Hi-Def, DV, etc.) but have found the mentality of these directors and producers is usually a world I try to stay away from. My most productive experiences with shot-on-tape productions have been with directors that have a film background. These directors know that quality takes more than just turning a camera on.

MM: When The Blair Witch Project was released, audiences couldn't get enough of the story. The film spawned a number of television shows like The Burkittsville Seven and Shadow of the Blair Witch, which you also worked on. How did you approach these projects differently from a cinematography level, as you are essentially exploring the same subject?

NF: Both of those shows were written and directed by Ben Rock. We did extensive pre-production photography tests. Ben had specific visual ideas for both shows. Early on we were both determined to shoot the shows on film. I felt that the most believable elements of The Blair Witch Project were the scenes that originated on black and white film. The video scenes took me out of the story. The 'filmed' scenes seemed more real. On The Burkittsville 7, we went with a more surreal sense of reality. We used specific film stocks, filters, high contrast lighting and lab processing techniques. On Shadow of the Blair Witch we designed a look more grounded in reality. This incorporated more natural lighting and handheld camerawork.

MM: In what way do you think the cinematography of a film adds to the storytelling? How can a cinematographer make a difference and how have you made a difference in the projects you've worked on?

NF: Again, moviemaking is a collaborative effort. Cinematography is just one key to telling a film's story. Cinematography must go hand in hand with production design, costumes, make-up, sound and a hundred other elements. I try to make a difference by taking a director's idea and pushing the visual envelope. Some directors are game while others like to play it safe. My job is to paint with light and focus the eye through composition.

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