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Interview with Richard Vialet

Richard Vialet, an emerging cinematographer in the indie film scene, gave Reel Artsy an in-depth interview about his process, influences and his road to SXSW. His latest film, The Last Fall, makes its world premiere at the SXSW Film Fest tonight. The Last Fall offers a subtle and honest look at an "athlete who struggles to deal with life's complexities after his professional NFL career is over."

1. What's your approach to cinematography? What are some essential elements that have to be in place before you start a job?

Before the production begins, I think it's important that every department head is on the same page and united under the director. I think anyone who works on a film should approach their craft in a way where serving the story is paramount. So I feel that my job is to serve the story as well as the director. And because movies are so expensive, it's also important to finish on time. So, if I have to sacrifice a few things on my end to insure that happens, I will.

2. What qualities attract you to a project?

The most important thing I look for is a good story that keeps me engaged. The director is another major factor if they're already attached. So sometimes, I get excited about a project because I really want to work with that particular person. I'm also very big on versatility, so I'm always looking for a project that is different from the last one. For example, the two features I've shot for director Corey Grant have been polar opposites, and I find that exciting. I just try to avoid getting bored.

3. When you get a script and decide to sign-on, what are some of the first things you make note of?

When I first read the script, I read it strictly for the story. But after I'm brought on board, I read it a second and third time and jot down initial visual ideas that come to my head. I also make note of anything I have to research, whether it's special equipment or any unfamiliar story elements. I also look for logistical issues that could affect the shoot, like schedule concerns, special effects, light gags, amount of day scenes vs. night scenes, moving car scenes, long montages, etc.

A True Story

4. Filmmaking is a collaborative art form. How do you go about forming a relationship with the directors you've worked with?

Every director works differently. I've worked with some directors who don't make detailed shotlists, so they can base their decisions off of rehearsals on set. But I also worked with one director who went as far as to make an animated video storyboard of the short we were shooting (complete with score and dialogue), and we used that as our guide. So some directors are more hands-on when it comes to the camera and some are not.

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