Interview: Director of Photography Valentina Caniglia

Valentina Caniglia, Cinematographer, has transcended to the highest levels of modern cinema in the craft of cinematography. She is renowned for her distinctive, poised style, nimble and ingenuitive approach. And, her creative dexterity when it comes to execution of her inimitable vision. As she shapes and expresses light, composition and movement to serve all kind project levels.

Valentina Caniglia currently was selected from the ASC vision committee to receive the prestigious ASC Vision Mentorship program award. She won Canadian Cinematography Awards, and LAF films award for Best Cinematography for Soyka and Fire In Water. New York Cinematography Awards. She was included in the TeenVogue article among the cinematographers behind some of the biggest movies.

“I am adept at filming each project with a versatile, visual style. This best translates each story’s unique concept into breathtaking moving images. This unravel the characters’ state of mind throughout the progression of the storytelling”, says Valentina.

Valentina Caniglia Cinematographer

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Valentina continues, “Cinematography represents a concept of beauty that stands beyond the aesthetic aspects. Something more intense that supports, follows and enhances the story where the camera can capture. And show through the eyes and heart of the human’s sensitivity behind it. The transparency and the awareness of visuals drawn by the emotions”.

“Finally, I search and find that story to observe and create how I can manifest feelings, and emotions. I love and enjoy to collaborate with directors and producers to create, says Valentina.” 

Valentina worked on Without Grace with Ann Dowd (2 Emmy Awards nomination for The Handmaid’s Tale & The Leftover). TV Pilot The Wohs with Joseph Sikora (Power). The Amytal Therapy, a short film based on a feature film in development written by Filippo M. Prandi and produced by Amine Mihoubi (Aaya Productions), and Filippo M. Prandi (Majox Films). Valentina has DOP’ed for the 2 unit of the original Netflix series Gypsy with Naomi Watts. She has a film that premieres at Cannes film Festival 2018 called Blindness

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Valentina Caniglia is known for her work on the film The Stand. Her astonishing lighting and camera work caught the attention of American Cinematographer magazine. Which featured an exclusive article in March 2017 issue, a period film Madeline’s Oil. When she won the Best Cinematography award at the Louisiana International film festival.

Also Pomegranates and Myrrh, winner of the Golden Dagger for Best Cinematography. Which premiered in USA at Sundance film Festival. The film received the Audience Award at Doha Tribeca Film Festival handed out by Robert De Niro. Fred Won’t Move Out was nominated for best cinematography by the AIC IMAGO award starring Elliott Gould. And, the critically acclaimed film Assolo described by the world critics a movie with an astonishing and elegant cinematography.

In 2012, She was bestowed the honor to join the European Federation of Cinematographers IMAGO. And the Association of Cinematographers (AIC).

indieactivity: Tell us about your most recent project?
Valentina Caniglia (VC): My most recent project was filming a wonderful film called R4CH43L. Which was based on a true story happened in 1940. The entire film is a narration of an event that happened through the eyes of a child during WWII. It was amazing to paint with light. Where all the characters where in 1940s costumes on location like a barn in a wide field or dark offices.

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What I like that the camera was hiding to see the story and became the eyes of the child, then while the story progressed became the eyes of the adult (who was once the child). It was a great experience with a very intimate and delicate film and a lots of Chiaro Scuro (dark and light) and contrast lighting a color palettes. Right before the film Rachel, I filmed Quail Hollow a great supernatural movie where I truly went all the way without limits with lighting, colors, framing, and camera movements. I worked doing all lighting for SFX and non SFX entirely on real locations in camera.

The director is a well known post production special effect person but he loved the way I light, frame and move the camera and specifically wanted to do mostly on set. Then in post he would just add some supernatural elements to what we filmed already. I recently wrapped the film Tape which is also based on a true story and it’s a powerful film to all women who are victims and are fooled and twisted by men.

How do you prepare for work on a new project?
Valentina Caniglia (VC): Before I do pre-production with the director I read the script twice once for the story and once for the visuals through a cinematographer eye. I gather all the references that could be right for the look like paintings, pictures, ideal locations, objects, music, everything around me that could be an inspiration. Then I talk with the directors and I invite them to show me all their references too. Mostly, the language created is through paintings.

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What is important though is that after I discuss it all with directors I read many books and create a scenario in my mind that could be a set that I light and film. It’s a kind of pre-visualization for my mind to develop more creativity though the lighting I create, frames and camera movement. I am very intuitive and I work well in the moment (or on the fly) but I love to have a good portion of time to prepare with Directors, Producers, Production Designers and all. It’s always good to have a plan and knowing that once on set you can be open to change things if they have to change.

Lately though I worked in projects that there wasn’t enough plan and in that case it’s good to come up with any resources possible to make it. I am used to that to. I work well in both worlds.

Who is your favourite cinematographer?
Valentina Caniglia (VC): There are so many cinematographers that I admire and that I was inspired by and I keep being inspired for what they do.

What brand of camera is your favourite?
Valentina Caniglia (VC): I think every cameras is different and every cameras can be chosen depending on the look of film desired and the budget you working with. I would say digital cameras like Arri Alexa, Panavision, Red, Panasonic are all so advanced now that all offer great options and tools. The few film cameras which we use now are also great. I am mostly leaning to what lens I use and I would say Zeiss, Panavision Primos, Arri Master, Cookes and Hawk are my favorite.

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How do you like to work with your camera crew?
Valentina Caniglia (VC): I like that my camera crew read the content of the project so when I am talking to them about creative elements which I have to translate and use the technical tools to make it happen either quickly or with more time, they are on the same page. I am a DP that likes to light with quality not quantity in a short amount of time to allow the actors to be free and move with directors in the space.

Is there s science behind what you do?
Valentina Caniglia (VC): I like science and I think in cinematography there is a lots elements to consider where is a fusion of technical strategies and creativity.

Describe the gear you will use on a indie film production?
Valentina Caniglia (VC): It really depends on each different projects and budget. Through varies experience and situation I developed a different and easy approach considering all the aspects around each different projects, film, commercial and all. I always think of plan A,B,C and see what could fit better for the story without sacrificing quality in my cinematography work but still performing my passion job efficiently. I think is important to work as a team with the producer and make your wish list but be open and aware that you can cut or replace something from the list an still accomplish the result you want.

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Describe the gear you will use on a big-budget production?
Valentina Caniglia (VC): My gear for a big budget would be filming Alexa 65 with Prime Panavision lenses.

What do you want most from a director?
Valentina Caniglia (VC): The best is when the director, and I support each others and she/he trust in me all the way, has a sense of collaboration, is a risk taking, has loyalty, respect, creativity and being able to become a partner in making any projects unique. Communication is important for communication I mean not necessary verbally but visually. The best is when the director and I are on set and we look to each others and just with a glance she/he know what I will do next and vice versa. Anticipation to read on each others minds if the keys.

indieactivity: What do you want most from an actor?
Valentina: I love working with actors and make them feel comfortable as if the camera is not there. The best is to be transparent and let them be free to work with their character and directors. I have a great admiration for actors and I respect their craft. If the camera can catch their performances well. It feels just right without any extra addition.

indieactivity: What advice will you give DOPs around the world?
Valentina: I would say to DOPs Try to embrace every projects, stories in a different way to keep translating the words of a screenplay into images and don’t let the aesthetic of an image take over the storytelling. You can always have and keep your own style while you create the right light, frame, and movement of the camera to interpret every projects visually. We are telling a story through the camera, frame and lighting.

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An image, a scene can be beautiful even if it is “not lit only for your own definition of beautiful based on your taste and standards but for being beautiful for the story” as long it’s powerful to express the director’s vision and tell the story. There is not always a motivation for what you do and how you light. If it feels right you know it, you see it and recognize it. Also, an important element is to listen and be able to observe around you what the time and space you can create to give what the story in the case of a film or the products in the case of a commercial needs.

I think is essential to look beyond and discover that the camera is a tool and you tell the camera what to do not the inverse. Your creativity and technical knowledge must mix in a way that together reflect the motivation of your camera movement, lighting, and framing that feels what the director wants and what the story calls for. Let this beautiful process grow though your experience and through your way of taking risks. Be open and try to just explore the beyond what is there.

Your way of lighting, framing, moving the camera doesn’t need to be like the other DPs. There is no a “correct” way to do it, there is your way to do it and if that works better to have the best collaboration with directors, producers, cast and crew means it’s good for you.

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