TIM CRAGG INTERVIEW
© NETFLIX
Clearly, our appetite for docs is only growing, but it’s not just a matter of volume or friendly algorithms. The form itself is evolving, with ever-rising production values and, increasingly, a cinematic feel that rivals scripted dramas. Traditional tropes like awkward talking heads, stock music and cheesy re-enactments have given way to a fresh approach. Now more than ever, DOPs are tapping into the tools and techniques of high-end dramas to push the limits of what a documentary can be. In this landscape, DOP Tim Cragg has carved out an enviable niche. With a career spanning over 20 years, his body of work ranges from raw, observational documentaries to highly polished productions. But in recent years, he has focused on the type of documentary
that feels like a feature film: story-driven, atmospheric and undeniably cinematic. “We’re competing with scripted stuff now,” he reflects. “Something dull just doesn’t cut the mustard – we’re going head-to-head with drama. We’re still using real stories and people, but we’re recognising that we can tell a story that’s honest to these people while using the tools of cinema. We can channel that language and emotion.” Cragg’s recent lensing work spans projects such as The Deepest Breath – an exploration of freediving – and Encounters , a lavish UFO docuseries from Amblin, Steven Spielberg’s production company. Working on the latter was a dream project for Cragg, who cites Spielberg as a huge influence on his work. The Manhattan Alien Abduction ,
released on Netflix in October, felt like an extension of Encounters for Cragg, who happily jumped back into the world of extraterrestrial phenomena to capture the story of Linda Napolitano, a New York housewife who claims to have been abducted by aliens. Blending re-enactments, archived footage and interviews, it draws on classic sci-fi inspirations to create something feels both believable and otherworldly. “I really enjoyed that it was exciting and chilling; there’s mystery in the cinematography with this genre,” he explains. “It’s a nod to everything I grew up with – Close Encounters , ET , Spielberg, it all has that cinematic metaphor that’s in my cells.” Key to Cragg’s style are his lens choices and use of lighting, and for
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