American Cinematographer - September 2019 - 112

CLOSE-UP

Polly Morgan, ASC, BSC

When you were a child, what film made
the strongest impression on you?
Close Encounters of the Third Kind. The
immersive and evocative storytelling had
a profound effect on me, ignited a love of
cinema, and determined that I would
one day be a filmmaker.

to be alone underwater with the
camera and actors.

What sparked your interest in photography?
My grandfather was always drawing, and that love of art was
passed down to me. I studied art and art history, and that led me to
the world of photography and lighting.

Where did you train and/or study?
After many years working in the industry and making short films, I
completed an MFA at the American Film Institute.

Who were your early teachers or mentors?
I first met Haris Zambarloukos, BSC, GSC, when I was a PA. He hired
me as a camera trainee and was a huge influence on my career, and
on my decision to attend AFI. [Society member] Michael Goi
became my mentor for many years. He was always there to answer
any questions - and he hired me to shoot additional photography
for him on American Horror Story.

What are some of your key artistic influences?
I am constantly inspired by both traditional and contemporary art.
The lighting and texture that can be created on a canvas, the depth
that is created on a 2D surface - I try to infuse those into my work
with that same painterly quality. I have also traveled around the
world, often alone and with a backpack, and those adventures have
shaped me as an artist and allowed me to experience different
cultures, colors, life and light, and made me the DP I am.

How did you get your first break in the business?
I managed to get a Canadian director to hire me as his assistant in
Toronto, which enabled me to get on my first sets and start working
as a PA. When I moved to London, the experience helped me get a
job at Ridley Scott's company.

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What has been your most satisfying moment on a project?
After many weeks of prep and planning, shooting a scene that
involved sinking a set in a tank in Long Beach, and operating underwater. Not only was it technically challenging, but totally immersive
September 2019

What is the best professional advice you've ever received?
Being a successful cinematographer is not only about creating
beautiful images, but about communication, patience, organization
and leadership. Filmmaking is a collaborative experience, and it's
important to be able to work well with many different personalities.

What recent books, films or artworks have inspired you?
One of this year's foreign movie Academy Award contenders,
Capernaum, was incredibly moving. The poetic imagery perfectly
captured the heartbreaking odyssey.
Do you have any favorite genres, or genres you would like to try?
My favorite genre is drama, for the opportunity to create a palette
that helps the audience connect with the characters in an
emotional and engaging way. I would, however, love to do a big
action movie like a Mission: Impossible or a Bond movie. I think that
would be not only creatively satisfying, but a lot of fun!
If you weren't a cinematographer, what might you be doing
instead?
Writing and taking photos for travel guides, such as Lonely Planet.
Which ASC cinematographers recommended you for membership?
Michael Goi, Dean Cundey and Bob Primes.

How has ASC membership impacted your life and career?
It has given me a sense of family, of being part of a collective, all
united through the same love of the craft - a supportive group
that openly shares knowledge and experience. I believe that
membership has helped give me validation to be hired on larger
projects. As a younger woman, I think it must help convince people
that I know what I am doing and can be trusted to execute a job
well.
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ASC 100th Anniversary

Photo by Chris Cavanaugh.

Which cinematographers, past or
present, do you most admire?
[ASC members] Vilmos Zsigmond,
Conrad Hall, Vittorio Storaro, Caleb Deschanel, Bradford Young,
Rachel Morrison and Hoyte van Hoytema.

Have you made any memorable blunders?
When I was a camera loader, I mistakenly opened a magazine of exposed film
outside of my changing tent. I have
never felt so sick in my entire life. I had
to go tell the producer and director that
I had lost a whole roll of film, and the
crew had to come back the next day and reshoot everything. It was
Super 16, so 10 minutes worth of material.

American Cinematographer - September 2019

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