SHORT BIO
Benjamin Leggett is a director of photography with a portfolio of over 20, predominantly queer, short films and over a decade of experience in camera and lighting professions. As a gaffer he worked on productions with Pulse Films, Bullion, Prettybird and Friend. Now as a DoP, they are in pre-production for a breadth of new shorts. Benjamin is also proactively supporting members of the LGBTQI+ and other minority communities starting out in the film and tv industry.
FILMOGRAPHY
Recent Work: Rose Gray: Angel of Satisfaction (2024), Hungry Like The Wolf (2024), The Score (2023), JCX (2023), Egg and Chips (2023), Steal Ya Nan (2023), Dream Factory (2023)
1. What personality or character traits are necessary to excel in being a cinematographer/DP?
Calm, and curious, but especially a genuine interest in people and light.
2. In terms of cinematographers, who do you like?
So many! I am constantly inspired by the work of David Watkin, Jack Cardiff, Storaro, Lukasz Zal. Sven Nykvist was a big early inspiration for me.
3. What makes good cinematography?
Good cinematography builds a contiguous visual world which literally makes you FEEL !
4. What makes a good camera? And what has been your favorite camera to use?
Anything works really. I love nintendo 3Ds at the moment
5. Do you think that cinematographer’s work has changed when movies went from film to digital?
Yes – the look is decided more in post than before, and there’s more creative involvement from production.
6. Now that people watch films on TV, computers and even their phones, do you think about that end experience when you are shooting?
Absolutely , faces must be larger in frame for smaller screens – and even the number of shots must increase to survey a scene and its characters without sacrificing details.
7. Which one is more important: light or shadow?
I like the bits in between…
8. What is the cinematographer’s involvement in pre-production, production and post-production?
Everything from feedback on script to suggestions on crew and artists. Because of the way they work, DPs are inherently ‘producers’ and ‘filmmakers’ in their own right and work on so many projects I think we are great sources of advice and support throughout the development of the film.
9. What involvement in the production budget does the cinematographer/DP have?
We take a good chunk of the budget, but I think we are worth it ;’*
10. What is your most valuable advice for being a Cinematographer/DP?
Take your time working up experience across departments, look after yourself, invest in your friendships and open your eyes
