An Interview with Cinematographer Andrew Thomas
What inspired you to become a cinematographer, and when did you realize that this was your calling?
First off, thanks, Jamie, for asking me/having me on your blog. I’ve enjoyed getting to know you this past year. It’s always fun to work on new projects with new people. Developing creative relationships isn’t always easy, and putting yourself out there can be scary.
To answer your question, I don’t exactly know. When I first learned about a thing called GarageBand while I was in High School (~ age 16) which my friend had, my mind was blown that you could record something, and then go back again and record another thing and layer them together. I just liked the engineering behind it all. I was in a band and I loved setting up the mics, processing, layering tracks, learning about effects, etc. No formal training, just messing with dials at first. I didn’t know what I was doing or the first thing about a camera, but I was hooked. Then, when I found out a similar thing existed for making movies (Final Cut or probably actually iMovie at the time), I equally was thrilled. It would be many years later before I figured out how to make money doing it. I think it took roughly 10 years before I transitioned to the entry level of film and TV. And another 10 before I felt confident in what I was doing as a cinematographer. Recording and documenting has always been a fun hobby that now has become my career.
How do you approach the visual storytelling process when working on a film or television project?
I think like most people, I try to watch and learn what others are doing. Beg, borrow, steal from those that are doing it well. It’s nice now that there are tools like Youtube, shotdeck, imdb, where you can learn who shot what, maybe even finding a lighting diagram or an interview with a cinematographer. I can be pretty obsessive at times with rabbit holes. I loved Jojo Rabbit for instance, so I went and found interviews with Mihai Mălaimare Jr. There’s lighting breakdowns on a few YT clips, he discusses lenses, camera, chats he had with Taika Waititi. And then of course, his influences can send you down another rabbit hole. It is never ending. But I guess we’re all influenced by so many things, it’s important (and I need to get better about watching more classics) to have conversations with your creative team about what you like, what they’re trying to convey story wise, and how you can achieve that in camera. Do we want to move the camera in a specific way? Light it in a specific way? What’s the budget allow for, and how much time do we have to pull it all off.
Can you walk us through your creative process when collaborating with a director to create a visual language for a project?
I recently shot a short with my wife who’s a Director/Writer. It is a murder mystery whodunit style comedy. And she already had some 1930-40s references. And this is pretty normal. Someone has an idea and asks you how do we achieve this look and feel. The script was fairly long for a 3 day shoot, so I knew we’d have to move quickly. She had a lot of interior night scenes written. So I went to Shotdeck and pulled some frames. I thought the only way to pull this off would be to light from the exterior and make it feel like the moon or a street lamp. And then we’d accent with practicals and smaller interior sources. We also discussed lenses. We both loved the anamorphic look but ran out of budget and ended up shooting spherically and using the funds to hire a gaffer to help us move quicker. We also thought about a Ronin to move the camera but ultimately decided the space was too small and opted for a dana dolly for certain shots.
The director gave me storyboards, we mapped out the location, and we worked with the AD to prioritize our day and night coverage. I made lighting diagrams to give to the gaffer, and made adjustments as we went.
What is your favorite camera and lens combination to work with, and why?
Alexa Mini.
And the lenses it depends on the project. I really love the anamorphic look but I also have an old set of Canon FDs that are rehoused that have a great look to them. Older glass can really soften the digital look of modern cameras so I’m glad ARRI has come out with the super 35 version.
How do you ensure that your cinematography supports the overall story and emotional arc of the characters?
I think above all the things I do, lighting is the most important. If I had to redo my career, I would have come up as a grip/spark/gaffer because it just gives you so many tools and knowledge for any given scenario. I kind of went from a Production Assistant to an Assistant Camera to a Camera Operator route and although it’s worked out ok, it can be fun to learn how other DoPs do things. All that to say, I try to make sure the story matches the lighting and vice versa. And giving the actors room to work I think is important. Lighting from the exterior allows for more play between the actors. If you’re so specific about making every frame perfectly lit I think maybe you’re losing out on the performance. As I get older I realize I think less is more. Letting things go dark is more fun.
How do you work with lighting to create mood and atmosphere in your shots, and what are some of your favorite lighting techniques?
For mood, just turn all the lights off and use a single source, some negative fill and some haze. Maybe pop on a light in the background
Can you tell us about a particularly challenging scene that you've shot, and how you overcame the obstacles to achieve the desired result?
I only recently have worked on more narrative work. I came from the documentary and commercial worlds which are very different. Documentary you really are relying on what you can use naturally and then accenting. Commercial is typically much more precise. There’s bigger budgets, more people on set, more stress. I think my most challenging shot was this 3 shot commercial that was all made to look seamless, as one shot. The VFX artist was on set making sure we were giving him proper transitions that would allow him to sequence the shots together. I hadn’t worked with the Director before and I wasn’t given any scout time for the locations. We did 2 spots in 2 days. So 6 shots total, all different locations. No pre-pro, I just had to show up on set and figure it out with the Director. I was also operating the camera on a Ronin 2 and the AC was pulling focus. That was challenging but ultimately we figured it out. A lot of thanks to the Gaffer and Spark who quickly helped make some lighting changes.
What is your approach to working with actors and framing shots to capture their performances effectively?
Still learning this, but having a plan with the director and actor is best. Get them in the frame, give them a mark. With more inexperienced actors, sometimes you don’t want to flood their head with too much info, so less is more. Then on the next take make an adjustment.
How do you stay up to date with new camera technology and techniques, and what role do you think technology plays in cinematography?
It’s just apart of the job. Luckily the best stuff is still shot on ARRI or RED. Camera-wise the tech is all still based on the same math. You might have new tech that allows you to shoot faster modes and framerates, but the basics are still the same. The lighting is what has changed the most over the past 5 years. LEDs have really brought the cost down. There’s always American Cinematographer or British
Cinematographer, podcasts, again YT, IMDB.com
Can you tell us about a project that you're particularly proud of, and why it was a significant achievement for you?
I really am proud of the whodunit short we just shot. It was really the most ambitious narrative piece I’ve gotten to work on, with a full crew. We learned a lot, but I am definitely proud of the shots we were able to get especially given the time constraints. Hopefully it will be out later in 2023. And I guess there’s a film on Netflix called Procession that I got to DoP for a handful of days because the DoP couldn’t travel due to Covid. It dealt with abuse in the Catholic Church and some really intense stories. It gave a lot of meaning to what I get to do.
How do you balance your artistic vision with the practical considerations of a production, such as budget, time constraints, and logistical challenges?
It’s always a challenge. But having parameters are what make creativity happen. I don’t think you do your best work unless you’re under some type of pressure. I’m not sure why but it always seems that way for me anyways.
How do you work with the rest of the crew, such as the director, production designer, and editor, to ensure that the visuals are cohesive and support the overall vision of the project?
Yeah maybe similar to before, but every job is important. I came from a sports background. And I think you need every member to do their job, but that means relying on them for their expertise. Trusting they will make the right choices. The Director is in charge and every decision should try to support their vision. Sometimes you have to make tough calls given the constraints, but ultimately if everyone is striving for the same goal, and doesn’t care who gets the credit, you should have a good outcome.
What advice would you give to aspiring cinematographers, and how can they best prepare themselves for a career in this field?
I’d say go shoot. Don’t wait for the perfect circumstances. Give yourself a deadline and go make something. That’s the only way to practice. If you’re in the industry already, ask questions. See if someone else at your level wants to work on a short. Just get involved. And then give yourself time. Like a lot. 10-20 years. You will likely not be DoPing a Hollywood film in your first 5, 10, 20 years. It takes time to learn, and it should, because there’s so much. People want to hire someone whom they can trust can get the look and feel they want at any given time of day or circumstance. And to get those reps takes time. And even once you know how to do those things, there are people who can do it just as good if not better than you. So just keep improving until they can’t ignore you anymore.
How do you think the role of the cinematographer has evolved over the years, and what do you see as the future of the field?
Honestly that’s a good question. I think there will always be a need for humans to make decisions on set. Certain jobs may go away like news camera operators, studio stuff. But there will always be a need for storytellers, and people who can understand how to do that. I really hope it’s not just actors in front of studio LED panels.
Can you tell us about any upcoming projects that you're excited about, and what drew you to them?
I’m just excited to have jumped into the Narrative world. Honestly, I love just working with good people who care about what they’re making. Commercial and documentary still intrigue me, but I’d like to keep collaborating and maybe writing some scripts to make with others. Since we moved to London, my wife has been writing some scripts of her own, so I think we’re going to try and keep developing those. Hopefully in the next few years we’ll have a better idea of what we’re doing!
I see being a Cinematographer as just a skill. I enjoy it a lot. But I just like being apart of a team. Hopefully I get to keep doing that for a while.
Books I Like: Flow by Mihaly Csikszentmihalyi
In his book "Flow," Mihaly Csikszentmihalyi introduces readers to the concept of optimal experience, which he calls "flow." Flow is a state of complete immersion in an activity that is both challenging and enjoyable, where the individual is completely absorbed in the present moment and loses track of time.
Csikszentmihalyi draws upon years of research to demonstrate how flow can be achieved in various domains, including sports, music, art, and work. He also explores the psychological and neurological factors that contribute to flow, such as concentration, control, and feedback.
Throughout the book, Csikszentmihalyi argues that flow is not only a source of happiness and fulfillment, but also a means of achieving excellence and creativity. He shows how individuals who experience flow on a regular basis are more likely to be productive, innovative, and successful in their endeavors.
Overall, "Flow" is a thought-provoking and insightful read that challenges readers to rethink the way they approach work, play, and life in general. Whether you're an athlete, artist, or entrepreneur, Csikszentmihalyi's ideas will inspire you to strive for greater levels of focus, engagement, and achievement.
Books I Like: Book The F***ing Job: A Guide for Actors by Anthony Meindl
"The Fucking Job!: A Guide for Actors" by Anthony Meindel is an inspiring and practical book that provides actors with invaluable advice and insights on how to succeed in the entertainment industry. Meindel's no-nonsense approach is refreshing and motivating, and his passion for helping actors to pursue their dreams shines through in every page.
The book covers a wide range of topics, from the importance of self-care and mindfulness to the technical aspects of auditioning and networking. Meindel emphasizes the importance of authenticity and encourages actors to embrace their unique voice and style, rather than trying to fit into a preconceived mold.
Throughout the book, Meindel also shares personal anecdotes and stories from his own experiences as a successful actor and acting coach, which further add to the book's engaging and relatable tone.
Overall, "The Fucking Job!: A Guide for Actors" is a must-read for anyone looking to make it in the competitive world of acting. Meindel's honest and straightforward advice will empower and inspire actors to take charge of their careers and achieve their goals with confidence and determination.
Books I Like: The War of Art by Steven Pressfield
"The War of Art" by Steven Pressfield is a powerful and insightful book that offers practical advice and inspiration for anyone who wants to pursue their creative passion. Pressfield identifies the forces that prevent us from achieving our creative potential, such as resistance and self-doubt, and provides strategies for overcoming them. He encourages readers to embrace the creative process and to view obstacles as opportunities for growth and learning.
The book is full of powerful insights and practical tips for anyone who wants to pursue a creative career or project. Pressfield's writing style is clear and engaging, and he draws on his own experiences as a writer to illustrate his points. He also provides examples from other creative fields, such as art, music, and film, to show how his principles apply across a wide range of disciplines.
One of the strengths of the book is Pressfield's emphasis on the importance of discipline and perseverance in creative work. He argues that success in any creative field requires not just talent and inspiration, but also the willingness to show up every day and do the work, even when it's difficult or uninspiring. This message is both inspiring and empowering, and it will resonate with anyone who has struggled to stay motivated and focused on their creative goals.
Overall, "The War of Art" is an excellent book that offers practical guidance and inspiration for anyone who wants to pursue their creative passion. It is a must-read for anyone who has struggled with self-doubt, procrastination, or other obstacles to creative achievement, and it will inspire readers to take action and pursue their dreams.
Books I like: Dopamine Nation by Anna Lembke
Dopamine Nation by Anna Lembke is a fascinating and thought-provoking book that sheds light on the ways in which our brains are wired for addiction and how this can impact our lives. Despite the heavy subject matter, Lembke's writing is engaging and accessible, making this a must-read for anyone interested in the intersection of neuroscience, psychology, and society.
One of the book's main takeaways is that our brains are wired to seek out pleasure and reward, and that this can lead to addictive behaviors. However, Lembke argues that this is not necessarily a bad thing - in fact, she sees addiction as a natural response to the challenges and stressors of modern life. By reframing addiction in this way, she offers a more compassionate and nuanced understanding of the issue, and suggests that we need to focus more on prevention and harm reduction rather than just treatment.
Another highlight of the book is Lembke's exploration of the various ways in which we seek out pleasure and reward - from drugs and alcohol to social media and video games. She argues that these activities all stimulate the same reward pathways in our brains, and that we need to be more aware of how they can impact our mental health and well-being. However, she also acknowledges that these activities can bring joy and meaning to our lives, and that it's all about finding the right balance.
Overall, Dopamine Nation is an insightful read that will challenge your assumptions about addiction and the human brain. Lembke's writing is engaging and thought-provoking, and she offers a much-needed perspective on this important issue. Whether you're struggling with addiction yourself or simply interested in learning more about the topic, this book is definitely worth checking out.
What is the difference between the Meisner Technique and the Method Technique?
Acting is a craft that requires not only talent but also technique. Among the different approaches to acting, the Meisner technique and the method technique are two of the most popular and widely used methods. Both techniques have their own unique strengths and weaknesses, and understanding the differences between the two can help actors decide which approach is best suited for them.
The Meisner technique was developed by Sanford Meisner, a renowned American actor and acting teacher. The technique is based on the idea of "living truthfully under imaginary circumstances." According to Meisner, acting is not about pretending or faking emotions, but rather about reacting truthfully to the given circumstances of the scene. The technique is built on a series of exercises and improvisations designed to help actors develop their listening and responding skills, and to help them connect with their emotions in a truthful and spontaneous way.
The method technique, on the other hand, was developed by Constantin Stanislavski, a Russian actor and director. The technique, also known as the Stanislavski system, is based on the idea of "emotional memory" and the use of personal experiences to create believable and authentic performances. Actors using the method technique are encouraged to draw on their own emotions and memories to create a sense of truth and authenticity in their performances.
One of the key differences between the Meisner technique and the method technique is the emphasis on emotional preparation. While the Meisner technique focuses on listening and responding to the given circumstances of the scene, the method technique encourages actors to use their own experiences and emotions as a basis for their performances. This can be both a strength and a weakness, as it can lead to deeply authentic performances, but can also lead to actors becoming too emotionally invested in their roles.
Another difference between the two techniques is the role of improvisation. The Meisner technique places a strong emphasis on improvisation and spontaneity, with exercises designed to help actors develop their ability to respond truthfully in the moment. The method technique, on the other hand, tends to rely more on pre-scripted emotional memory exercises and less on improvisation.
Finally, the Meisner technique tends to place a greater emphasis on the physicality of the performance, with exercises designed to help actors develop their physical awareness and expressiveness. The method technique, by contrast, places more emphasis on the psychological aspects of the character and their emotional journey.
In conclusion, the Meisner technique and the method technique are two of the most popular and widely used approaches to acting. While both techniques have their own unique strengths and weaknesses, the choice between the two ultimately depends on the individual actor and their personal preferences and goals. Some actors may find the Meisner technique's emphasis on improvisation and physicality more appealing, while others may be drawn to the method technique's focus on emotional memory and authenticity. Ultimately, the best technique is the one that allows an actor to connect with their character and give a truly authentic and memorable performance.
What is the Meisner Technique?
The Meisner Technique is a popular acting technique developed by Sanford Meisner in the 1930s. It is a method that teaches actors how to live truthfully under imaginary circumstances. The Meisner Technique is based on the idea that acting is not about pretending, but rather about being genuine in the given moment.
The Meisner Technique is often described as an immersive and transformative approach to acting. It requires a great deal of dedication, patience, and focus from actors who choose to use it. The technique helps actors to connect with their emotions and bring authenticity to their performances.
One of the key principles of the Meisner Technique is repetition. In repetition exercises, actors repeat a simple phrase or action while focusing on their partner's response. This exercise helps actors to stay in the moment and react genuinely to their partner's behavior.
The technique also emphasizes the importance of active listening. Actors are taught to listen and respond truthfully to their partner's words and actions. This helps actors to develop a sense of empathy and authenticity in their performances.
Another important aspect of the Meisner Technique is the use of imagination. Actors are encouraged to use their imaginations to create vivid and detailed inner lives for their characters. This helps actors to create a rich and layered performance that is both truthful and engaging.
Overall, the Meisner Technique is a powerful tool for actors who want to bring authenticity and depth to their performances. It requires a great deal of dedication and hard work, but the rewards are well worth it. If you're an actor looking to take your craft to the next level, the Meisner Technique may be just what you need to help you achieve your goals.
Books I like: The Almanack of Naval Ravikant
A collection of thoughts presented for free via a downloadable pdf. I’m not sure I’ve ever highlighted as much as I found myself doing when reading this. Naval has a way of concentrating thoughts into incredibly concise gems. I forget where I first came across his work; it may have been via James Altucher or possibly Naval’s brother. Naval is a silicon valley entrepreneur full of wisdom about life, love and everything in between.
Books I Like: Quiet by Susan Cain
I often find myself getting lost in psychology books. The way humans function, feel and behave is fascinating to me. Quiet by Susan Cain opened my mind about introversion and gave me a new perspective on how I behave in social situations. It's an intriguing look into what we think we know about "introverts". I'd recommend it to anyone in any field.
Books I Like: The Intent to Live: Achieving Your True Potential as an Actor by Larry Moss
The Intent to Live: Achieving Your True Potential as an Actor" by Larry Moss is a must-read book for anyone looking to explore the art of acting. Moss, an experienced director and acting coach, provides a wealth of knowledge and insights into the craft of acting, drawing from a range of theoretical perspectives. This comprehensive guide covers all aspects of acting, from the initial script analysis to the final performance, and offers practical tips and exercises for actors looking to hone their skills.
One of the key themes of the book is the importance of intention in acting. Moss argues that the actor's primary job is to find the character's intent, and to embody that intent in their performance. He also stresses the importance of vulnerability and emotional openness in acting, encouraging actors to tap into their own experiences and emotions to create truthful and authentic performances.
Throughout the book, Moss draws on his own experiences as a director and coach, as well as the teachings of other acting luminaries such as Sanford Meisner and Stella Adler. He also includes interviews with actors and directors, offering a range of perspectives on the craft of acting.
"The Intent to Live" is a comprehensive and insightful guide to the art of acting, offering practical advice and exercises for actors at all levels of experience. Whether you are a seasoned professional or a beginner just starting out, this book is sure to provide valuable insights and inspiration for your craft.
I've highlighted some of my favourite passages below.
Apps I Use: LineLearner
LineLearner is very useful when you need to shoot a self-tape and you’re on the go, or if you just want to run lines but have no one to run lines with. It’s an iOS app. You simply record the lines, both your part and any other characters in the scene. You can then run the lines over and over. You can speed them up, changing the timing between them, you can change the tone of voice, too. I find it very useful as part of my toolkit.
The Actors Vow - Elia Kazan
I will take my rightful place on the stage
and I will be myself.
I am not a cosmic orphan.
I have no reason to be timid.
I will respond as I feel;
awkwardly, vulgarly, but respond.
I will have my throat open,
I will have my heart open,
I will be vulnerable.
I may have anything or everything
the world has to offer, but the thing I need most,
and want most, is to be myself.
I will admit rejection, admit pain, admit frustration,
admit even pettiness, admit shame, admit outrage,
admit anything and everything that happens to me.
The best and most human parts of me are those
that I have inhabited and hidden from the world.
I will work on it.
I will raise my voice.
I will be heard.
Podcasts I Like: Smartless
This is great! Possibly the best podcast created during the pandemic? Start with the Bryan Cranston episode below, you will not be disappointed.
An Interview with Filmmaker Faisal Hashmi
Who are you, and what are your passions?
My name is Faisal Hashmi and I'm an independent filmmaker based in Dubai. My passions lie in telling stories, primarily for the visual medium but even on the page and for any other form of media if the story calls for it.
How did you first discover filmmaking/writing? Do you remember the first film you ever saw?
I first started writing short stories back in high school that weren't very good but I knew I enjoyed the process of crafting a story with a twist at the end. I never really thought of pursuing this as a career back then so I joined a business college afterwards and continued writing during that. Soon after, I realised that a lot of the stories I'm writing feel cinematic in nature so I started exploring writing them as screenplays and learning the art of how a screenplay is written. But I realised that in a country with a fledgling film industry like UAE, there isn't a marketplace that exists where I can hand off my screenplays to directors who can then go make them. I had to make my own film otherwise these screenplays would just be sitting in a drawer somewhere. So I wrote a short screenplay that took place in one location with two characters and got my friends on board to shoot it over one day with whatever equipment I had access to. It's then that I realised that I actually enjoy the aspect of directing too and bringing my words to life. So that's when the bug of filmmaking took over. It was too late by then to switch my education to film school so I decided to learn film by making films instead.
As for the first film I saw, I don't recall the very first one but I distinctly remember seeing films like Jumanji and being in awe of the scale and spectacle of them as a kid. But in terms of one that made me aware of how much storytelling plays a part in films, I would say M Night Shyamalan's 'The Sixth Sense' would be that film. I remember that twist ending blowing me away and then dissecting later how it was hidden in plain sight. That's when I knew there is a real craft to this that I am intrigued by.
How has your pandemic been? The good? The bad? Is there something you've learned about yourself during 2020?
The pandemic has been a mixed bag. As someone who works as a commercial director to pay the bills, it has been rougher since a lot of the projects got cancelled and budgets got slashed throughout most of the year. As a filmmaker, it was challenging too since I couldn't shoot anything new and my latest short film's festival run got affected as most film festivals got moved or went virtual. But as a writer, I feel like it was a boon because I made a decision very early on to use this extra time on my hands to focus on writing the scripts that I always wanted to write but didn't because of a lack of free time. So at the end of the year, I have two new feature length screenplays ready so I feel proud of myself for making the best out of a bad situation. I guess you could say what I learned about myself is that I am good at adapting.
You make films in the United Arab Emirates, can you tell me a little bit about the scene there and what it is like being a filmmaker in the region?
The film industry in the UAE is still in its infancy, although there's certainly more happening now than there was back in 2009 when I first made my short film. But even then, it's still restricted to mostly self funded short films as we don't have a marketplace where independent producers and studios are regularly putting out feature films in cinemas the way countries like India, UK and South Korea do. Without that, it's an irregular output once in a while. So as a filmmaker here, my focus is to make contained short films that can be made on a modest budget yet still tell a compelling story but at the same time carve a niche in the space here as a genre filmmaker since almost none exist in this region. As I gear up to develop a feature film, the challenges in funding and resources definitely are formidable but I'm ready to face them head on over 2021.
Are there particular tools you use that help you do what you do? These could be as specific as a type of pen or paper, camera, or an app or software you use?
I am fortunate enough to own almost everything I use to shoot my short films including a camera and various lights and even audio equipment. In terms of softwares, I use this new app called Notion to do all my outlining and pre-writing before I jump into the screenplay and it has been really useful to organise myself this year. As an editor, I'm a fan of Adobe softwares so Premiere Pro is what I use to edit almost all of my short films and it has really served my editing style well.
What does success mean to you?
Success to me means being able to do what you love and make a comfortable living out of it for you and your loved ones. I don’t have grand aspirations of becoming a multi-millionaire. As long as I get to tell the stories I love to tell without restrictions and can sustain myself financially from it, I’d consider myself a successful person.
What's the best piece of advice someone ever gave you?
The best piece of career advice I ever received is to make the film that you would want to see if someone else made it. It recalibrated the way I think about cinema in general where instead of trying to second guess what an audience would enjoy, I am much more in tune with the kind of films I like to watch and trying to make that kind of film hoping that there is a section of the audience that enjoys my tastes and sensibilities too. That’s the best way to create something authentic because if you don’t care about your own film, an audience certainly won’t.
If you could tell your younger self one piece of advice, what would it be?
I would say it would be to worry less about the state of the film industry in the region in ways both good and bad, because I have come to realise that everyone charts their own path. Just because you have a thriving film industry here doesn’t mean that you will automatically make it as a filmmaker, and just because the film industry is struggling doesn’t mean you’re doomed. Find your way in sooner and trust your voice and the stories you have to tell to the world and worry less about the doom and gloom.
What is an unusual habit that you have?
It’s not exactly an unusual habit for writers, but I am a night owl in every sense of the word and have found that most of my writing and certainly my best writing occurs late at night when everyone is asleep. There’s something about the calm in a pitch dark room that gives me focus and probably explains why so many things I write are horror-tinged. So I’ve made it a habit to only write when the world goes to sleep.
When you feel overwhelmed or unfocused, or have lost your focus temporarily, what do you do?
I have faced writer’s block many times throughout my writing career, and sometimes I’ve been on a deadline and haven’t had the luxury to just step away so you have to tough it out. But otherwise, my best solution, when I’m lost or unfocused, is to step away and partake in the real world by meeting people or more importantly watching films and TV that other people have made. It has more often than not sparked ideas in me on how to tackle what I’m stuck in which gives me renewed energy to come back to my script and see it through till the end. Also, it’s helpful to have at least two projects to be working on so you can switch between them if one feels like it’s getting stale or difficult.
Where can people find you? Are there any recent projects you'd like to mention?
I’m pretty active on every social media platform, so people can find me as @faisalhashmi on Twitter and @faisalhashmifilm on Instagram. My newest short film Amber is concluding its festival run and should be on YouTube in a month or so, but other than that I’m actively developing two feature film projects. One is a thriller called Cinder that I can’t wait to shoot once financing is in place, and the other is a horror anthology set over one night in Dubai and follows five interconnected stories which should be a lot of fun to shoot!
Some of Faisal’s films can be seen below.
Seth Godin on Dreams, School and Art
There is so much wisdom here. One of my favourite takeaways from this is the part about doing more when it’s art, and finding ways to do less when it is work.
An interview with Simon Furness
Who are you and what are your passionate about?
I'm an actor and an acting teacher. Craft excites me; human injustice saddens me.
How has your pandemic been?
I've had moments of numb immobility, feverish activity and lately, more stillness. I have discovered you have to work at the latter.
How would you describe what you do at a dinner party?
I don’t go to dinner parties.
How did you first discover acting?
At school, as a refuge from shame, sadness and certain kinds of team sports.
What misconceptions do you hear about your industry or area of expertise?
That acting and teaching it are forms of therapy. Though their effects are therapeutic, that's not the intention. Teaching a craft enables someone to uncover and pursue their own standards of excellence.
You're able to watch one single movie or TV show that you love again, as if for the first time, what do you pick?
Brief Encounter.
How do you define success?
Doing something you love for a few hours, then resting.
Is there a particular book you find yourself recommending? Or one that you gift most often?
The Leopard by Lampedusa.
What’s the best purchase you've made in the past year?
A webcam.
If you could tell your younger self one piece of advice what would it be?
'Every little thing's gonna be alright'.
And, what’s the best piece of advice someone ever gave you?
Don’t lead a trivial life. My old acting teacher, Tom Radcliffe, told me that.
What is an unusual habit that you have?
I try and learn 5 lines of blank verse every day.
Are there any recent projects you'd like to mention?
I keep thinking up ways of meeting people who share my love of Chekhov and in particular his play Uncle Vanya. I worked recently on some scenes from it and the sessions were filmed: all quite unexpectedly beautiful.
Where can people find you?
Books I like: The Four Agreements by Don Miguel Ruiz and Janet Mills
The Four Agreements by Don Miguel Ruiz and Janet Mills is an insightful and empowering book that provides readers with a set of practical principles for living a happy and fulfilling life. The four agreements - Be impeccable with your word, Don't take anything personally, Don't make assumptions, and Always do your best - are presented in a clear and concise manner, and are accompanied by real-life examples and anecdotes that make them easy to understand and apply.
Ruiz's writing style is engaging and accessible, and his teachings draw on a range of spiritual traditions to create a framework for personal growth and transformation. By following the four agreements, readers can learn to break free from limiting beliefs, destructive patterns, and negative emotions, and cultivate greater self-awareness, compassion, and authenticity.
Overall, The Four Agreements is a must-read for anyone seeking to improve their relationships, boost their self-esteem, and live a more fulfilling life. With its practical advice and inspiring message, this book has the power to transform the way readers think, act, and relate to the world around them.
There’s a reason this is considered a classic. Some of my personal highlights from the book can be found below:
We make a mistake, we judge ourselves, we find ourselves guilty, and we punish ourselves. If justice exists, then that was enough; we don’t need to do it again. But every time we remember, we judge ourselves again, we are guilty again, and we punish ourselves again, and again, and again. If we have a wife or husband he or she also reminds us of the mistake, so we can judge ourselves again, punish ourselves again, and find ourselves guilty again. Is this fair?
In your whole life nobody has ever abused you more than you have abused yourself. And the limit of your self-abuse is exactly the limit that you will tolerate from someone else. If someone abuses you a little more than you abuse yourself, you will probably walk away from that person. But if someone abuses you a little less than you abuse yourself, you will probably stay in the relationship and tolerate it endlessly.
Instead of living in a dream of hell, you will be creating a new dream — your personal dream of heaven.
The truth is that the mother’s tolerance for any noise was nonexistent; it was not that the little girl’s voice was ugly. But the daughter believed what her mother said, and in that moment she made an agreement with herself. After that she no longer sang, because she believed her voice was ugly and would bother anyone who heard it. She became shy at school, and if she was asked to sing, she refused. Even speaking to others became difficult for her. Everything changed in the little girl because of this new agreement: She believed she must repress her emotions in order to be accepted and loved.
You can measure the impeccability of your word by your level of self-love. How much you love yourself and how you feel about yourself are directly proportionate to the quality and integrity of your word. When you are impeccable with your word, you feel good; you feel happy and at peace.
Personal importance, or taking things personally, is the maximum expression of selfishness because we make the assumption that everything is about “me.”
Nothing other people do is because of you. It is because of themselves. All people live in their own dream, in their own mind; they are in a completely different world from the one we live in. When we take something personally, we make the assumption that they know what is in our world, and we try to impose our world on their world.
When you take things personally, then you feel offended, and your reaction is to defend your beliefs and create conflicts.
Write this agreement on paper, and put it on your refrigerator to remind you all the time: Don’t take anything personally.
You are never responsible for the actions of others; you are only responsible for you. When you truly understand this, and refuse to take things personally, you can hardly be hurt by the careless comments or actions of others.
It is always better to ask questions than to make an assumption, because assumptions set us up for suffering.
Action is about living fully. Inaction is the way that we deny life. Inaction is sitting in front of the television every day for years because you are afraid to be alive and to take the risk of expressing what you are. Expressing what you are is taking action. You can have many great ideas in your head, but what makes the difference is the action. Without action upon an idea, there will be no manifestation, no results, and no reward.
Not enjoying what is happening right now is living in the past and being only half alive.
If you are impeccable with your word, if you don’t take anything personally, if you don’t make assumptions, if you always do your best, then you are going to have a beautiful life. You are going to control your life one hundred percent.
The first step toward personal freedom is awareness. We need to be aware that we are not free in order to be free. We need to be aware of what the problem is in order to solve the problem.
The angel of death can teach us to live every day as if it is the last day of our lives, as if there may be no tomorrow. We can begin each day by saying, “I am awake, I see the sun. I am going to give my gratitude to the sun and to everything and everyone, because I am still alive. One more day to be myself.”
That is the way I see life, that is what the angel of death taught me — to be completely open, to know that there is nothing to be afraid of. And of course I treat the people I love with love because this may be the last day that I can tell you how much I love you. I don’t know if I am going to see you again, so I don’t want to fight with you.
Gravy Song | Sainsbury's | Christmas 2020 The Sainsbury's commercial everyone is talking about right now
It's beautiful. It's nostalgic, and yet it's current. It captures the magic of Christmas perfectly. Well done to Sainsbury's and the team at Thirty Two. No one should be apologising for anything here.
And, it features someone that helped me grow as an actor when we trained together. The talented and effortlessly lovable Deenie Davies. I couldn't be happier to see him in this. Sending love to everyone involved. This is how advertising should be done.
The Quality Most Needed by Laurette Taylor
This is a piece which I first came across upon the recommendation in one of Bill Esper’s books, I think it is worth sharing with others. It was written by Laurette Taylor:
I have been asked to discuss, for the benefit of those who may go on the stage, the qualities which are most important as elements of success. If merely the financial or popular success of a woman star is meant, I should say that beauty is more essential than magnetism. But if by success you mean all that is implied by the magical word Art – success in the sense of Bernhardt, Duse and Ellen Terry are successes – I should say most emphatically the reverse. And I should add that imagination is more important than either.
Mere beauty is unimportant; in many cases it proves a genuine handicap. Beautiful women seldom want to act. They are afraid of emotion and they do not try to extract anything from a character that they are portraying, because in expressing emotion they may encourage crow’s feet and laughing wrinkles. They avoid anything that will disturb their placidity of countenance, for placidity of countenance insures a smooth skin.
Beauty is not all-important as an asset, even when the star is not anxious to achieve true greatness. Many of our most charming comediennes are not pretty women. Rather, they are women of great charm and personality. I cannot for the moment recall a single great actress who is a beauty. At least not in the popularly accepted idea of what constitutes beauty.
Personality is more important than beauty, but imagination is more important than both of them.
Beauty as I understand it does not mean simple prettiness, but stands for something allusive and subtle. The obvious seldom charms after one has had to live close to it for any length of time. Being all on the surface, there is nothing left to exhilarate, once the surface has been explored. On the other hand, the beauty which emanates from within becomes more enchanting upon close acquaintance. It is constantly revealing itself in some new guise and becomes a continual source of joy to the fortunate persons who have the privilege of meeting it frequently.
That is beauty of the imagination, and that beauty all the really great actresses have.
The case of [Sarah] Bernhardt is as good an example as one would wish. In her youth, especially, she was the very apotheosis of ugliness; still, through the power of her rich imagination that glorified her every thought and act, she held her audiences in the hollow of her hand. It is the strength and richness of her wonderful creative mind tha tmakes it possible for her to present the amazing illusion of youth which she does even today.
It isn’t beauty or personality or magnetism that makes a really great actress. It is imagination, though these other qualities are useful.
You see a queer little child sitting in the middle of a mud puddle. She attracts you and holds your interest. You even smile in sympathy. Why? Simply because that child is exercising her creative imagination. She is attributing to mud pies the delicious qualities of the pies which mother makes in the kitchen. You may not stop to realize that this is what is going on in the child’s mind, but unconsciously it is communicated to you. It is the quality of imagination that has held your attention …
We create in the imagination the character we wish to express. If it is real and vital to us in imagination we will be able to express it with freedom and surety. But we must conceive it as a whole before we begin to express it.
There will be those who will disagree with me and say that magnetism presupposes imagination. This is a mistake. Many magnetic actresses are wholly lacking in imagination, their hold upon the public resting chiefly upon personality and charm and beauty. Have you ever gone to a tea party where you met some very magnetic woman who radiated charm, who not only held your attention but exhilarated you until you became impatient to see this scintillating creature on the stage, where you might realize the fullness of her wonder? And have you not felt, when your opportunity came and you saw her on the stage at last, the disappointment of realizing a wooden lady with a beautiful mask for a face, speaking faultlessly articulated lines – an actress who rose desperately to the big moments of her part, and who never for a moment let you forget that it was she, that actress, whom you saw, not the character whom she was portraying? There may have been splendid acting but you were conscious of the fact that it was acting. There was no illusion. She was conscious at the big climax that she was acting this part and that she must reach this climax. She was acting as much to herself as to you.
That is not the art of the great actress.
The imaginative actress builds a picture, using all her heart and soul and brain. She builds this picture not alone for the people out in front but for herself. She believes in it and she makes the people across the footlights believe in it. Unless she has done this she has failed. She must stimulate the imagination of the audience. An actress should not only be able to play a part; she should be able to play with it. Above all, she should not allow anything to stand between her and the thing she is expressing.
How often does an actress play a part so as to leave you with the feeling that you have so intimate a knowledge of the character that you could imagine its conduct in any position, aside from the situations involved in the action of the play? Unless this happens, you feel that after all you have seen a limited portrayal of the character and you realize that though the acting was practically flawless there was something missing. And, in nine cases out of ten, that is because the woman playing the part did not use any imagination. She was entirely bound by the tradition of the theatre. She did everything just as it would have been done by anyone else on the stage. This is fatal.
You feel untouched by the play because it was not made real to you.
The artist looks for the unusual. She watches everyone, always searching for the unusual in clothes, in manner, in gesture. The imaginative actress will even remember that the French have characteristics other than the shrug!
Think of the number of times that there have been Irish plays, of the number of times that the Irish character has been used in the working out of a plot. Yet never, to my knowledge, has an Irishman been played on the stage. (This excepts, of course, Lady Gregory’s players and Guy Standing’s rendition of a current Irish-American role.) Real Irishmen have never been played. The Irish can be the most melancholy people on the face of the earth, yet the traditional stage Irish have been lilting colleens and joking Paddies.
The most interesting thing to me in acting is the working out of the character itself, the finding of what which is uncommon and the small, seemingly insignificant trait which will unconsciously make an appeal to the audience and establish the human appeal. Too much importance is laid on clothes. In the main, I think that all clothes hamper unless they express the character. Personally, I detest ‘straight’ parts for that reason. They necessitate the clothes that make me self-conscious – or, rather “clothes conscious”.
I want to get right inside the character and act from the heart as well as from the head. That is impossible unless one is free from outside interference.
I think actresses pay too much attention to the tradition of acting. That is a great mistake. It cramps creative instinct. I received a good deal of criticism for my walk in The Bird of Paradise. Some of the critics said I should be taught how to walk across the stage. Of course I paid no attention to that. My walk was the walk of the barefoot Italians who carry loads on their heads, and I had learned it from them. It was certainly not the traditional stage walk, but we are living in a time when simplicity and truth are the watchwords of the theatre. The traditional stage walk would not have fitted the character I played.
The stage has come to a period of simplicity. A few years ago the direct attitude adopted by the younger actresses of today toward their roles would have been considered ridiculous. The changes have been positive but subtle, and the actress without concentration has been unable to discern them. They are the ones who are still sparring for time in their emotional scenes, using the traditional tricks to express grief, joy, surprise, chagrin; and they wonder why they are sitting at home without engagements. They cannot comprehend that the very little basket of tricks which made them the idols of a few years ago fails utterly to get results today …
The time has come when we may as well realize that we can no longer give a filmy portrayal of emotion and pad it out with stereotyped pieces of “business”. The younger actresses of today express the elemental emotions as the elemental person would express them in real life. There is no such thing as a compromise in the logical development of a character in order to make a theatrical effect …
Too few actresses follow their instinct. I think instinct is the direct connection with truth.
It is not enough to know just what you are to do yourself in the action of a piece; you must know also the exact relation you must bear to every other character in the play.
For instance, take the business of dying. You must in your imagination realize not only the fact that you are dying but the effect which your death will have on every character related to your part. You know that you are not dying and the audience knows it, but in your imagination you must really believe you are. The business of dying becomes actual to you; also, you compel the audience to believe in you by the very sincerity of your attitude.
This trait is really remarkable in Maude Adams. Recall her work in Chantecler. Without her tremendous imagination to gild her impersonation, this frail little woman would have been hopeless in the part. Yet through her marvelous richness of imagination she produced the illusion of bigness that many women better fitted physically could not have done.
One would never say that Maude Adams is beautiful, in the sense that she is pretty or has a beautiful physique; but she has charm, magnetism and imagination. These three make a beauty that transcends mere beauty.
Beauty, personality, and magnetism are not important in the equipment of a star, when compared to the creative faculty of imagination. The first three qualities are valuable adjuncts, and no one should sneeze at them. But you might get along without the slightest beauty and little or no personal magnetism if you were generously endowed with the imaginative mind.
For further reading about Laurette Taylor, see this wonderful In Memory of piece by Sheila Omalley.