American Cinematographer - November 2016 - 88

Mandy Walker, ASC, ACS

When you were a child, what film made the strongest
impression on you?
The transition from black-and-white to color in The Wizard of Oz
[1939] struck me as cinematic magic at an early age.

What has been your most satisfying moment on a project?
If I have succeeded in visually supporting the story and the director's
vision of a film, then that is always satisfying.
Have you made any memorable
blunders?
It would have to be on my first filmloading job on a 16mm [Arriflex] BL,
where I loaded a roll of film twice. In
dailies we watched a double-exposed
scene of a kid being berated by his
teacher at school while, upside down,
his parents were having a dinner party.

Which cinematographers, past or
present, do you most admire?
Robby Müller [BVK, NSC], Owen Roizman [ASC] and Gordon Willis [ASC]
were big influences on my early work,
and now it would have to be Roger
Deakins [ASC, BSC] and Emmanuel
Lubezki [ASC, AMC].
What sparked your interest in
photography?
I have visited art galleries ever since I
was in a stroller with my mother. My
father also made me a darkroom at home where I could do my own
black-and-white processing and printing. I was inspired by our
family's regular ventures to the cinema, including [screenings of]
foreign-language films.
Where did you train and/or study?
I knew I wanted to be a cinematographer from the age of 14.
However, I never went to a film school. At 18, my first job was as a
production runner on a feature film. Then, after working my way up
through the camera department - starting as a loader - I shot my
first feature film at 25 years old.
Who were your early teachers or mentors?
My film-criticism teacher at high school, Brian Simpson - and later
Ray Argall [ACS], a cinematographer I was working with in
Australia. I started as his assistant on documentaries, and then
dramas, before operating for him and moving on to shooting his
films when he became a director.
What are some of your key artistic influences?
Every time I'm in preparation for a movie I seek out references such
as paintings, photographs and other movies that I feel evoke the
style and emotion of the story.
How did you get your first break in the business?
A teacher and actor, John Flaus, gave me the contact of a producer.
I followed it up and was employed as a runner on a movie. I persistently asked the camera department for contacts, told them I
wanted to be an assistant and showed I was keen.

November 2016

What is the best professional
advice you've ever received?
When I was starting out there were
only a small percentage of women in
the camera department, and I am constantly reassured that while it
may still appear to be male-dominated, there's no reason why it
should be.
What recent books, films or artworks have inspired you?
The still photography of Bill Henson and the paintings of William
Turner are very evocative and moving.
Do you have any favorite genres, or genres you would like to
try?
I like shooting all different genres. Something I have not done but
would really love to shoot is an action movie, such as a James Bond
or Jason Bourne film.
If you weren't a cinematographer, what might you be doing
instead?
I would be a still photographer. Storytelling through images is what
I enjoy the most.
Which ASC cinematographers recommended you for
membership?
Kees van Oostrum, Bill Bennett and David Darby.
How has ASC membership impacted your life and career?
What I enjoy the most about the ASC is the camaraderie, the generous exchange of ideas and advice, and getting to socialize and talk
to some of the cinematography legends I've admired throughout my
life.
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American Cinematographer

Photo by Matt Nettheim, SMPSP.

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Table of Contents for the Digital Edition of American Cinematographer - November 2016