INTERVIEW: Cinematographer Chris Chomyn, ASC Talks New Netflix Movie “Como Caido Del Cielo” + More
rj frometa
Monday, December 16, 2019
Other Content
Having built a career for more than two decades now, from small budget to somewhat big – what would you say you have learned from these experiences?
All films regardless of budget, scope or scale require complete focus and attention to the details of telling the story. Collaboration with a team of committed professionals is essential to this process. By sharing ideas and challenging each others preconceptions, each member of the the creative team grow beyond their limits and together they can create opportunities to connect with their audience in unexpected ways.
Creativity doesn’t cost anything, but executing the vision does; so it’s important that one stays mindful of the schedule and budget. The limitations of resources often present opportunities for creativity. To quote Orson Wells, “The absence of limitations is the enemy of art.”
Let’s talk about Como Caido Del Cielo – how were you drawn into this project?
Como Caido del Cielo came to me from the director, Pepe Bojorquez. We have been collaborators for many years, having shot several films together. Pepe’s passion is infectious and so when he is excited about a project, it’s easy to see the possibilities. When I first read the script it wasn’t what I expected, and I really liked that.
Based on the life of the iconic Pedro Infante – did you get to actually study the film from his to use as some sort of a wink to audience?
I wouldn’t say there was a wink to the audience. Of course we watched many films of Pedro Infante to better understand his character. I think our film succeeds in immersing the audience in the story and characters. That said, we do make visual references to Pedro’s character from several of his films, but this is more of an homage than a wink.
Hasving already shot another Spanish speaking film – does this language barrier still stands as a challenge or rather the opposite?
The language barrier can present significant challenges. But I understand quite a lot of what I hear and am able to make myself understood as well. The good news is, that while I don’t speak Spanish, I do speak filmmaking, and so does the crew. It has become rather easy for me in broken Spanish with some hand signals to be understood, and for me to understand my crew.
Ultimately, I think I bring a lot of value to the projects I shoot. I bring my unique perspective. I work quickly and find creative solutions to the challenges we face every day.
Shot on location – what was the scouting process like? What were you and Bojorquez were looking in particular?
We shot in San Diego, Tijuana and Mexico City, though the story takes place in SD and TJ. First we had to find locations that worked for our story. The next challenge was to find locations in Mexico City that could double for TJ. Then we had to figure out how to make the transitions seamless so no one would see the difference. The topography and architecture in CDMX is very different from Tijuana – so finding the right locations, took a team effort.
Once we found locations that could work for the way we intended to shoot, Lizette Ponce, our amazing Production Designer, had to figure out how to tie our CDMX locations to our TJ locations. And of course, I had to light and frame it to work for our needs. And all that we did, had to work for the story we were telling. Making a film like this really takes a collaborative effort across all departments.
Was it easy to actually use Mexico City as a stand in for Tijuana and San Diego or you got to be a bit creative?
Mexico City has different topography and architecture from TJ, so we had to find places where that was not noticeable. Sometimes at first glance, a location may not seem to work as envisioned, but then with a bit of imagination, one can figure out how to make it work. The solutions often require controlling several elements, from production design to lighting to shot design.
The film also plays as a fantasy – how much of this aspect did you take in high consideration for your work on the film?
I would call it more Magical Realism than Fantasy. That said, we didn’t want the magical elements to be a distraction, and so we worked to play everything as natural and believable as possible. Of course the magic is a departure from reality, by playing it naturally, I think the audience is able to suspend disbelief and accept it as part of the reality of our story.
How did you get to balance the reality with the fantasy? We didn’t focus on the magic of it – we approached the film as if it was a true story that really happened and so while the premise is magical, I think the audience immediately connects with Pedro and wants him to succeed. We are routing for him. I think if we had treated the magic as if it was something we had to work to convince the audience to believe, we would not have succeeded. But the audience will believe this story, because we believed it when we were making it.
What would you say was the most challenging aspect of shooting this film?
Time is always the challenge. This was a complicated production and it took all of our effort to complete it on schedule. Our first day of shooting in San Diego, we were rained our after about half a days work. We didn’t have any wiggle room, so we huddled, made a plan, and without adding any days to our schedule we completed all the work before we left San Diego. Later in our schedule, we lost power at one location and had to shut down about halfway through our day. Again, we made a plan and within a few days, gained back enough time to return to that location to complete the work on schedule.
But this is not unusual. When working with so many moving parts, something is bound to occur that interferes with the plan. The key is to be prepared to adjust and accommodate the obstacles.
What else is happening next in Chris Chomyn’s world?
I don’t really know. At the moment I have a few projects that are waiting to be green lit, and so I’ll have to see what happens first.
In the meantime, I teach cinematography at the USC School of Cinematic Arts which I have been doing for 22 years. I enjoy teaching and look forward to the students each semester. And yet when a project comes along that interests me, I have the flexibility and support of my department and dean, to take a leave of absence and pursue my career. How lucky am I? I truly am blessed to have such a wonderful situation.
Vents MagaZine Music and Entertainment Magazine
