Interview with Cinematographer Julio Macat (Home Alone, Wedding Crashers, The Boss)

What an honor it was to sit down with Director of Photography Julio Macat. Julio has DP’d most of the top comedy films in the last 25+ years. His list of credits include: Home Alone 1, 2 & 3, Ace Ventura: Pet Detective,  The Nutty Professor, The Wedding Planner, Wedding Crashers, Winnie the Pooh, Pitch Perfect, and the upcoming comedy The Boss, starring Melissa McCarthy.

juliomacat.jpg

Matthew Toffolo: You have worked in the Hollywood Film Industry scene for the last 36 years. What has been the biggest change in the filmmaking process from 1980 to present?

Julio Macat: The biggest change in our industry has been the choice of material that studios and most independent financing companies green light, as what films are made. It used to be that a film like ORDINARY PEOPLE would have no problem going forward, especially with a good director attached. Now, great films like that rarely get made anymore. I miss that.

MT: Of all the productions you’ve worked on, what film are you most proud of?

JM: Without hesitation it’s HOME ALONE, it was a rare combination of all the elements of film making coming together harmoniously with a result better than expected.

PHOTO: Cinematography in the film Home Alone:

homealone.jpg

MT: Home Alone is one of the most successful films in movie history, and it’s a film that really stands the test of time. During filming, did you ever imagine that this film would be as iconic as it was?

JM: No I didn’t. My hope was that it would be liked as much as I liked A CHRISTMAS STORY and that kids could relate to and be empowered by it. But It’s unusual to sense that you are doing something that special because you are in a vacuum, trying to do the best you can in your department (the visuals) and just hope that everyone else had their act together as well…Fortunately our young director Chris Columbus, had a great vision of what “it could be” and he guided us all in a great direction. The film was that unique circumstance where every layer that was added made the film even better…and John Williams’ score was truly icing on the cake.

MT: You’ve definitely been a part of some of the most successful films in the last 25 years (Home Alone, Wedding Crashers, Pitch Perfect to name a few). Is there a film that you worked on that didn’t do well at the box office that you consider a terrific film that people should see?

JM: Yes In comedy, I loved MY FELLOW AMERICANS which came out at an odd time and no one saw and the drama CRAZY IN ALABAMA which was a bit too long and did not connect with American audiences.

PHOTO: Crazy in Alabama. Starring Melanie Griffith:

crazyinalabama.jpg

MT: You just wrapped “The Boss” starring Melissa McCarthy, Peter Dinklage, and Kristen Bell. Can you give us a sneak peak as to what to expect?

JM: I have not been this excited about a comedy coming out since I photographed WEDDING CRASHERS!

JM: THE BOSS is the perfect vehicle to show Melissa McCarthy’s incredible talent. I think she is the present day Lucille Ball, someone who can and will do ANYTHING for a laugh and unlike other comedians, it’s ALWAYS really funny. She has the uncanny ability to step outside herself and correct situations to make them hilarious without being self conscious! There is a scene in which she puts on a teeth whitener to have Kristen Bell clean her teeth and holds a conversation while they are being cleaned. I assure you that this will have the people in theatres roaring with laughter! We had to start the scene again repeatedly, because the other actors and the crew could not stop laughing during the takes.

PHOTO: Melissa McCarthy in THE BOSS: 

theboss

MT: Some of the comedies you work on the director demands the actors stick to the script, whereas other films, like Wedding Crashers, there is a lot of improvising occuring. Do you have a preference when shooting? How does the scene lighting setup change when you know the actors are going to go off script?

JM: It’s been my experience that comedy is an imperfect and individual science. The best results come when you leave an opening for great accidents to happen. So I try to not lock in actors with blocking that is too precise, and for example, if the scene develops into being filmed in an area that we had not anticipated, well, that then turns into a fun challenge!. Hopefully this adds to the piece. Ben Falcone and Melissa were eager to want overlaps in dialogue and action in some of our scenes, to be a part of the looseness of the jokes, so they asked that I cover these scenes with three angles simultaneously. It was challenging photographically, but the results were worth the effort and we got many “improvised “ moments with the proper intercut coverage.

MT: Since you started in the camera department, do you prefer operating the camera yourself? Or does this all depend on what type of film (budget/Union guidelines) you’re working on?

JM: I love operating the camera myself, and on some productions I prefer it.

But since I’ve now done 17 films with first time directors, lately, I find that all can go faster when I spend more time by the director’s side and away from the camera. I do love stunts, however, and I love operating on the tough shot …so that we get it in one.

MT: What’s the main thing you look for from your main crew members? Gaffer, Key Grip, Camera Operators etc…

JM: My most important criteria in choosing crew is PERSONALITY. After this many years in the film industry, I found that many people are qualified for the job description, not as many have the agreeable, kind and respectful personality that I require to be in my crew.

I like to be the example of being respectful to actors, directors, producers and other crew members. I expect my crew to do the same.

It’s amazing how much you can achieve with a hand picked crew that has a positive attitude and general kindness toward each other, I am always amazed at this, especially when we work under such tough circumstances that we often encounter. With this approach, when the pressure mounts with things like weather challenges, not enough time, locations changing, etc. etc. which by the way, are actually the daily obstacles of filming, one can rely on the crew to process it, deal with it professionally and find a solution with kindness achieving much better results.

MT: What do you look for in your working relationship with your director?

JM: A collaboration, Hopefully I look for this person to be someone who will do their homework, roll their sleeves up along with me and work as hard as I do.

I look for the director to be considerate of my craft and the elements I may need in order to help them realize their vision for the film And finally, maybe most importantly, a sense of humor.

MT: What movie, besides the ones you worked on, have you seen the most in your
life?

JM: It’s a three way tie: In this order though…

IT’S A WONDERFUL LIFE
LOST IN AMERICA
JERRY MAGUIRE

Cheers
JULIO MACAT, ASC

_____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s