American Cinematographer - July 2019 - 80

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Stijn Van der Veken, ASC, SBC

Which cinematographers, past or
present, do you most admire?
I have always been a big fan of [ASC
member] Roger Deakins' photography,
as his approach is so straightforward
and simple - but not necessarily easy to
accomplish - and it is fully complementary to the storytelling,
every time. And [ASC members] Emmanuel Lubezki, Greig Fraser
and Bradford Young, all for the same reason.

What sparked your interest in photography?
Since I was a young kid, I always liked to photograph stills, following in my dad's footsteps. At age 14, I was cast in a small feature
film, and during the shoot I fell in love with what happened behind
the camera. One year later, I bought my first Bauer Super 8 camera
- sponsored by my dad - and made my first 45-minute feature. I
became so addicted to filmmaking that I decided to become a
cameraman.

Where did you train and/or study?
After high school, I went to a film school in the French-speaking
part of Belgium - Institut des Arts de Diffusion at Louvain-laNeuve - for a three-year bachelor's degree in cinematography. It
wasn't easy because French isn't my native tongue, but the school
was so great that I gave up everything so I could complete the
degree. Only 18 students were admitted, and at the end we graduated with eight.

Who were your early teachers or mentors?
My main teacher in film school - an Italian DP named Alessandro
Usaï.

What are some of your key artistic influences?
After I graduated, I attended several workshops with Billy Williams
[BSC] in London and the U.S. He triggered my love for lighting.

How did you get your first break in the business?
I got a call on a Sunday from Brussels-based producer-cinematographer Wim Robberechts, asking me if I wanted to drive to Paris to
collect a piece of camera equipment he urgently needed. Half an
hour later, I was on my way to help him out. He rewarded me by
asking if I wanted to work for him as a camera assistant. He started
my professional career. I still owe him, as I think you should never
forget who gave you your first chance in this business.
July 2019

What has been your most satisfying
moment on a project?
I always try to find a new challenge on
every project. One in particular was a
10-episode World War II drama - The
Emperor of Taste, with Matthias Schoenaerts - that I filmed with my brandnew Arri 416 camera and set of
Arri/Zeiss Master Prime lenses. That
shoot connected me to the Arri family
so closely that I got involved in the testing and development of the Arri Alexa,
thanks to Arri people like Giuseppe Tucconi, Marc ShipmanMueller and many others - which I still consider a great privilege!
I am very close to the Arri family to this day.
Have you made any memorable blunders?
Not one - but rather a few, as we all have! The most embarrassing ones are when you imagine and prep a certain approach that
doesn't seem to work at all, and you have to ask to start all over
again. But small mistakes can also be very annoying.
What is the best professional advice you've ever received?
'Believe in what you do and keep believing in your ambition, even
in difficult times.' In the beginning, I had a maximum of one day of
work per month. My father told me many times that I shouldn't
give up. I was close to doing so, but he convinced me not to.
What recent books, films or artworks have inspired you?
Vermeer.

Do you have any favorite genres, or genres you would like to try?
Coen brothers and Denis Villeneuve movies. I would love to shoot
them!

If you weren't a cinematographer, what might you be doing
instead?
I would be a pilot, as flying is my second passion.

Which ASC cinematographers recommended you for membership?
I was lucky that Kees van Oostrum, Bill Bennett and David Darby
saw my 2013 Oscar-nominated short film, Death of a Shadow,
which I shot. They recommended me for ASC membership.
How has ASC membership impacted your life and career?
The ASC is a brilliant organization, and what I like most is teaching
a Master Class every year. This is my contribution to the ASC as an
active member - it is so important to share knowledge.
u

ASC 100th Anniversary

Photo by Robert Viglasky.

When you were a child, what film made
the strongest impression on you?
The Killing Fields, directed by Roland
Joffé and photographed by Chris
Menges [ASC, BSC].

American Cinematographer - July 2019

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