Dick Pope's passion and enthusiasm begins when reading scripts in which images blossom. Having studied painting and photography his whole life, the 68-year old Brite has been an avid photographer himself since childhood. In THE REFLECTING SKIN, one of his early films, the disturbing images that draw their inspiration from Andrew Wyeth is directly reflected. In Mike Leigh's MR. TURNER last year, he created another visual tribute to a great painter with his cinematography: Meticulous studies of lighting moods at all times of the day and whatever the weather allowed for exterior shots, the light and color applied to the canvas without CGI effects "Turneresque" - breathtaking work for which he was awarded in Cannes. Pope's collaboration with Mike Leigh goes back many years. Since LIFE IS SWEET, it has been Dick Pope's lifelike settings, landscapes of the human face, and authenticity that make Mike Leigh's films cinematographically so unique.
Academy Award-winning Vilmos Zsigmond’s filmography reads like a mini Best of American Masterpieces from the last decade. Born in Hungary, Zsigmond migrated to the USA in 1957 carrying 35 mm recordings of the 1956 Hungarian revolution, and established himself as one of his new homeland’s most important cameramen within the space of a few short years. He celebrated his Hollywood breakthrough after collaborating with the most influential directors of the 70s: Robert Altman’s anti-Western McCABE & MRS. MILLER (1971) brought him his first BAFTA nomination. With several Academy Award nominations and an Oscar for Steven Spielberg’s science fiction film CLOSE ENCOUNTERS OF THE THIRD KIND (1977), Zsigmond was one of America’s greatest and most renowned cameramen. His image language has shaped innumerable films including OBSESSION (1976) THE DEER HUNTER (1978), HEAVEN’S GATE (1980) and YOU WILL MEET A TALL DARK STRANGER (2010). He died 2016 at the age of 85.
Born 1961 in Austria, director and screenplay writer Erwin Wagenhofer uses his films to highlight the world’s grievances. The German Documentary Film Award-winning and FIPRESCI Award-winning WE FEED THE WORLD deals with the excesses of worldwide food production and international agricultural policy. A graduate of the Austrian Institute of Technology, Wagenhofer created impressive imagery to portray the abstract flow of money in the global financial system in LET’S MAKE MONEY (2008). Wagenhofer worked on the screenplay for his drama BLACK – BROWN – WHITE, which tells the story of the impossible love between an Austrian trucker and an illegal African immigrant.
The internationally active cinematographer Ueli Steiger was born 1954 in Zurich. He studied English language and history and Art History at the University of Zurich, and undertook subsequent studies at the London Film School. In 1981, following freelance activities as an assistant cameraman and documentary filmmaker in Switzerland, he shot his first feature film (PRIVILEGED) together with the director Michael Hoffman in England. He gained ground in the USA with his camera work in Hoffman’s PROMISED LAND(1986). Ueli Steiger then settled in Los Angeles and made his name as a Hollywood cinematographer with such films as Dennis Hopper’s THE HOT SPOT, SINGLES, BOWFINGER, GODZILLA, AUSTIN POWERS, THE SPY WHO SHAGGED ME and THE DAY AFTER TOMORROW.