INTERVIEW TIM CRAGG
anamorphic lenses and an experienced crew (including his trusted first assistant Mike and focus puller Keir), allows him to capture scenes with cinematic precision. “With the GLINK, it’s like having Steadicam but with even more flexibility,” he comments. “I can follow a scene, get in close and still keep a fluid, natural feel that most documentaries lack. It gives me freedom to adjust angles quickly and maintain that energy on screen.” Years of collaboration mean Kier can anticipate Cragg’s moves, which makes every shot smoother and prevents any stiffness. He’s also a big fan of Aputure lighting, citing its affordability and flexibility. His process usually involves a small team – just a gaffer and sometimes an assistant – and starts by blacking out all windows, setting up tents to block out direct light. Even when windows are in the frame, he makes sure they’re tented, then adds a glow using different colours, perhaps sodium vapour or moonlight, depending on the mood he wants. He’ll use up to 40 small fixtures, ‘painting with light’ to layer depth and texture – whether it’s creating silhouettes, adding bright accents or experimenting with different colours. Adding to the polished aesthetic of his work is the structured, almost choreographed way he shoots. Scenes for The Manhattan Alien Abduction were all meticulously planned, with detailed location scouting and staging of spaces to make sure they were just right. “We create the environment: it doesn’t exist already!” he grins. “We give people high-rise buildings when they live in an apartment – everything is a movie version. I always imagine that the audiences might be on their phones, texting. I want them to be able to glance up and know exactly what they’re looking at, who that person on screen is and what the feeling is. It’s bold, obvious, dramatic and very clear.” Cragg’s background in post- production also shapes his approach. “I think like an editor when I shoot,” he explains, describing how he frames scenes with the final cut in mind. This enables him to work efficiently on-set, CLOSE ENCOUNTERS Cragg selected Cooke’s full-frame anamorphic lenses for cinematic sci-fi documentary Encounters
capturing only what he knows will work in the editing room. Even with military-level preparation, though, the nature of documentary work means he’s still sometimes surprised by what unfolds during production. While shooting Encounters , his initial scepticism became less certain as he met interviewees around the world. The crew encountered some bizarre occurrences, including strange marks on people and odd experiences that left them questioning reality – so much so that they considered turning the camera on themselves, as they began to feel like they were part of the story. In Japan, locals even suggested that ‘the time is right’ and that they had been chosen to share this message. Ultimately, “working in the world of documentary means we actually get to experience things – and the experiential
value is equal to the creative craft for me,” he shares. “I want to meet the person who believes they’ve gone in a spaceship, and I want to meet the Pope. I want to meet these people and see things with my own eyes and make my own judgement. This kind of work can make you question what you believe in. That part of it – the experience and human element – is really attractive to me.” For him, the most powerful part of documentary filmmaking is the human connection. “There’s something really beautiful about people being extremely honest and heartfelt towards the camera. Being in the presence of someone who’s brave enough to do that. That’s special and rare. You really feel it when you’re behind the camera – when somebody is telling their story and how it affected them. It’s never boring.”
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