American Cinematographer - March 2018 - 80

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Uta Briesewitz, ASC

When you were a child, what film made the
strongest impression on you?
Francois Truffaut's Day for Night, The Story of Adele H
and The Man Who Loved Women. Sergio Leone's Once
Upon a Time in America, shot so beautifully by Tonino
Delli Colli, AIC.

matographer, you are nothing without your crew.
Have you made any memorable blunders?
The first day I met Michael Kenneth Williams, who
played Omar on The Wire, I complimented him on the
great scar the makeup department had put across his
face, just to be corrected by him that it was actually
real. Luckily, he had a good sense of humor about it.

Which cinematographers, past or present, do you
most admire?
As a young woman, I was so intrigued by Michael Ballhaus [ASC, BVK], this German cameraman who got to
shoot movies in Hollywood - some of the most amazing films to this day.
What sparked your interest in photography?
I have vivid memories of sitting in rye fields with my father on vacations, and painting watercolors of windmills and lighthouses. I love
working with people, though - so when the time came, I decided
on a career that allowed me to create images through collaboration.

What recent books, films or artworks have inspired you?
Great television is being produced these days. Ozark, The Handmaid's Tale, The Alienist and The Deuce - to name just a few - are
shows that feature both courageous performances and beautiful,
inspiring cinematography.

Where did you train and/or study?
After interning at a German TV company, I attended the DFFB -
Deutsche Film- und Fernsehakademie Berlin - while working as a
freelance operator/cinematographer for television. I then applied for
the directing program at AFI, with cinematography as my second
choice. AFI accepted me to the latter. Looking back, I feel grateful to
AFI for making that decision for me.

Do you have any favorite genres, or genres you would like to
try?
Genres that re-create the past or look into the future, and apocalyptic
genres, put me into a world that I wouldn't get to experience if it
weren't for all the incredible artists that are needed to pull off such
visions. As a cinematographer on such projects, I consider it an honor
to be the one who gets to capture these worlds.

Who were your early teachers or mentors?
The cinematography teacher I remember most from my time at AFI is
Denise Brassard. She gave us consistent guidance and was always
available for us. I revisit AFI when my schedule allows, either to teach
a class or talk to the students there. I try to make myself available to
students who are looking for guidance.

If you weren't a cinematographer, what might you be doing
instead?
Even though I have been directing for the last couple of years, I will
always consider myself a cinematographer as well. I always wanted
to do both. Besides wanting to become a painter, writing is something I would like to explore more.

What are some of your key artistic influences?
From my work as a painter, I learned attention to detail and to trust
my intuition, both of which strongly apply in my work as a cinematographer.

Which ASC cinematographers recommended you for
membership?
Stephen Lighthill, along with Nancy Schreiber and David Stump. I'm
very grateful to all of them.

How did you get your first break in the business?
Executive producer Robert Colesberry hired me - a young woman
with no TV-series experience - to shoot the pilot for HBO's The Wire.
He changed everything for me. To this day, HBO gives young women
incredible opportunities. Robert used to say he was good at finding
new talent. I still feel humbled that he considered me such a talent.

How has ASC membership impacted your life and career?
The ASC is a place of continuous education, exchange with
colleagues, and encouragement for the next generation. I recently
had a great experience on a panel at the ASC Clubhouse - specifically aimed at women in the industry - helmed by Cynthia Pusheck,
ASC, who is doing an amazing job bringing us all together. When
working as a cinematographer, you don't usually get to meet many
of your colleagues on the job, and the ASC brings us together. I am
lucky to be part of a really wonderful and inspiring community.
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What has been your most satisfying moment on a project?
Every day that you end up making because your crew hustles like
crazy for you is a satisfying and deeply rewarding moment. As a cine80

March 2018

American Cinematographer

Photo by Lacey Terrell.

What is the best professional advice you've ever
received?
You are only being judged by your worst day, not by
your best.

Table of Contents for the Digital Edition of American Cinematographer - March 2018