As a film enthusiast and aspiring cinematographer, Greig Fraser’s story is nothing short of inspiring. His journey from a young boy with a dream to one of Hollywood’s most sought-after cinematographers is a testament to the power of persistence and the magic of cinema.
Greig Fraser, a well-known cinematographer who has worked with directors like Garth Davis, Matt Reeves, Denis Villeneuve, and others, points out that no one is born with an innate desire to become a cinematographer.
Fraser has quickly risen to fame among Hollywood’s top cinematographers following critical praise for his work on “Rogue One: A Star Wars Story,” “Dune: Part One” and “Dune: Part Two,” as well as “The Batman.” The Newport Beach Film Festival is recognizing his achievements by bestowing upon him the title of Billion Dollar Cinematographer.
He’s also gained significant influence among many as a top-tier Director of Photography (DP), particularly inspiring budding filmmakers and movie enthusiasts.
He talks about learning about filmmakers,” he explains. “I recall being around 7 or 8 years old, drafting a script for a war film, and we had some toy guns and military jackets, and we thought, ‘Why can’t we produce it?'” he says during a call as he strolls home from a shoot in the U.K. on a balmy summer night. The challenge: He and his friends didn’t own a camera. “There was this youthful assumption that we could simply create a movie, disregarding our lack of expertise or equipment,” he says.
The movies ‘Grease’ and those from the ‘Star Wars’ series sparked Fraser’s fascination with films. As he approached college, the idea of filmmaking captivated him as it offered a balance between individual and collaborative work.
In the 2000 documentary “P.IN.S,” directed by Davis, Fraser earned one of his initial co-cinematographer credits. Working alongside Garth, as Fraser puts it, was a key factor in him deciding against pursuing directing. While this might sound negative, it opened his eyes to the fact that his thought process doesn’t align with Garth’s. Garth is an exceptional director, and Fraser acknowledges that he will never perceive the world as Garth does.
In a world overflowing with visual content, Fraser notes, “We’ve grown incredibly adept as viewers and as a culture in interpreting images.” He further explains, “I find myself needing to comprehend these images more deeply than most people who engage with them. What I’ve discovered about this process is attempting to encapsulate complex concepts within straightforward visuals.
What factors lead him to accept a project these days? Contributing to a director’s creative vision is his top priority, but he’s also seeking development. He chuckles, “Not financially,” he says. Instead, he’s after growth in his craft. “Does it offer me technological advancement? What abilities does it provide so I can assist my next director in resolving their visual challenges?
Working on “The Mandalorian” and with Lucasfilm provided both.
“That massive problem was, how do we create a workable, meaningful technology that helps filmmakers become more efficient and put their stories on the screen in a more efficient manner,” he says. “Building the Volume [stage] and figuring out how to do that was really important to me because I didn’t think I could do it, let alone anybody else.”
Equipped with expertise in capturing volume shots and utilizing virtual production techniques, Fraser effectively tackled challenges on both “The Batman” and “Dune: Part One.
Denis Villeneuve praises him as an “extraordinary artist” who keeps his ego from interfering with his creative process. He possesses a relentless hunger and a captivating thirst for discovering novel approaches to filmmaking. In essence, he’s blazing new trails in cinema.
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2024-10-16 21:16