American Cinematographer - May 2020 - 25

Solo: A Star Wars Story unit photography by Jonathan Olley, courtesy of Lucasfilm Ltd. Arrival unit photography by Jan Thijs, courtesy of Paramount Pictures.

t Young shooting
Solo: A Star Wars
Story (2018). Working
outside his
wheelhouse, the
filmmakers' key visual
reference of McCabe
& Mrs. Miller gave him
a starting point. "I was
thinking, 'This is going
to be a Western that
takes place in another
time and dimension,'"
he told AC. "Once they
gave me that
reference, I thought,
'Okay, I belong here.'"
q Young confers with
director Denis
Villeneuve on the set
of Arrival (2016). The
movie's mysterious
look was inspired by
the work of
photographer Martina
Hoogland Ivanow.

making films, I'm confident that
School Daze was an influence on their
pursuit to become a filmmaker or
storyteller.
What did the young Bradford
Young do with this epiphany?
Young: [Laughs.] First, I ran
away from it, because I'm the grandson of a mortician, and my grandfather was a very powerful presence in
my life. Not in a million years did I
think I could be an artist. So whatever
feeling I was having was put away in
a bag, to its 'proper' place, to the side,
because ... like many of us, I felt the
heavy weight to fulfill a family
responsibility. I was expected to take
over the family business. I felt that
burden, even though it was totally
unsaid and unspoken. My greatgrandfather and grandfather had built
a successful family business, and we
needed to maintain that. So that feeling I had at the movies? I buried that.
I was fearful that if I expressed that
desire to be an artist - in a very pragmatic family - that the idea would
just be shut down. As an older person,
now raising children of my own, [I
know] that my grandmother was a

strong supporter of the arts and that
she was teaching my grandfather
what art could be, but at the time that
didn't matter. I wasn't equipped with
the language to tell them that I
wanted to be an artist - any kind of
artist - and I wasn't at all interested
in what was important to them. But
after School Daze, I knew I wanted to
be a filmmaker.
So when did it become possible to make that change for yourself?
www.ascmag.com

Young: When I was 18, I literally didn't even know that Black
people made films. It's crazy. But I
had no examples; I had no reference.
And that makes me a little emotional
... because I'm happy that people of
that age today can see some examples,
but I had nobody other than Spike
Lee, and later John Singleton, who
were telling excellent stories in a
visual, artful way. [Those filmmakers]
never discounted the importance of
May 2020

25



American Cinematographer - May 2020

Table of Contents for the Digital Edition of American Cinematographer - May 2020

Contents
American Cinematographer - May 2020 - Intro
American Cinematographer - May 2020 - Cover1
American Cinematographer - May 2020 - Cover2
American Cinematographer - May 2020 - 1
American Cinematographer - May 2020 - Contents
American Cinematographer - May 2020 - 3
American Cinematographer - May 2020 - 4
American Cinematographer - May 2020 - 5
American Cinematographer - May 2020 - 6
American Cinematographer - May 2020 - 7
American Cinematographer - May 2020 - 8
American Cinematographer - May 2020 - 9
American Cinematographer - May 2020 - 10
American Cinematographer - May 2020 - 11
American Cinematographer - May 2020 - 12
American Cinematographer - May 2020 - 13
American Cinematographer - May 2020 - 14
American Cinematographer - May 2020 - 15
American Cinematographer - May 2020 - 16
American Cinematographer - May 2020 - 17
American Cinematographer - May 2020 - 18
American Cinematographer - May 2020 - 19
American Cinematographer - May 2020 - 20
American Cinematographer - May 2020 - 21
American Cinematographer - May 2020 - 22
American Cinematographer - May 2020 - 23
American Cinematographer - May 2020 - 24
American Cinematographer - May 2020 - 25
American Cinematographer - May 2020 - 26
American Cinematographer - May 2020 - 27
American Cinematographer - May 2020 - 28
American Cinematographer - May 2020 - 29
American Cinematographer - May 2020 - 30
American Cinematographer - May 2020 - 31
American Cinematographer - May 2020 - 32
American Cinematographer - May 2020 - 33
American Cinematographer - May 2020 - 34
American Cinematographer - May 2020 - 35
American Cinematographer - May 2020 - 36
American Cinematographer - May 2020 - 37
American Cinematographer - May 2020 - 38
American Cinematographer - May 2020 - 39
American Cinematographer - May 2020 - 40
American Cinematographer - May 2020 - 41
American Cinematographer - May 2020 - 42
American Cinematographer - May 2020 - 43
American Cinematographer - May 2020 - 44
American Cinematographer - May 2020 - 45
American Cinematographer - May 2020 - 46
American Cinematographer - May 2020 - 47
American Cinematographer - May 2020 - 48
American Cinematographer - May 2020 - 49
American Cinematographer - May 2020 - 50
American Cinematographer - May 2020 - 51
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American Cinematographer - May 2020 - 54
American Cinematographer - May 2020 - 55
American Cinematographer - May 2020 - 56
American Cinematographer - May 2020 - 57
American Cinematographer - May 2020 - 58
American Cinematographer - May 2020 - 59
American Cinematographer - May 2020 - 60
American Cinematographer - May 2020 - 61
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American Cinematographer - May 2020 - 63
American Cinematographer - May 2020 - 64
American Cinematographer - May 2020 - Cover3
American Cinematographer - May 2020 - Cover4
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