Zeferino interview DP Neus Ollé

Today in Zeferino Iluminación Profesional we want to share the interview we did with cinematograher Neus Ollé. She became interested in cinematography so young and because of this she decided to start her studies at film school ESCAC to focus on cinematography. She born in Reus and settled in cities like Barcelona or London, she has participated in numerous film projects and commercials. She works as cinematographer in Tots volem el millor per ella (2013) by Mar Coll, Radiacions (2012) by Judith Colell, El cant dels ocells (2008) by Albert Serra and Tres dies amb la familia (2008) by Mar Coll.


How was your beginnings in cinematography?

I had the good fortune to finish my studies of cinematography at the NFTS and I started working as cinematographer in London. At first I work in low-budget projects, documentaries, shorts and virals.

What has been your most relevant work or which have been more satisfied?

Tough question … It’s hard to say just one!

My first two movies I remember them fondly. El Cant dels Ocells by Albert Serrabecause with him I learned to be open, perceptive in the shooting, without following any of academic standards. And simultaneously we created the most beautiful image by improvising all. And Tres dies amb la Familia by Mar Coll because it was the first movie we do with a whole group of ESCAC’s friends. There was a lot of energy and passion that made up our young age.

I think I’ve evolved a lot since then, and I shoot a lot. But I like to think and try to keep the motivation with which we shot these early films.

What light or projector you always carry on in a set? Why?

By the light I do I quite like working with Kinos. They are lightweight, can be placed anywhere and if you soften a bit more give a beautiful light.

Do you have a visual reference or any cinematographer has marked you?

The cinematographers that have marked me are Harris Savides and Gordon Willis. The two have a great mastery of narrative and light. They put the camera as anyone. In fact the best films of Woody Allen are photographs by Gordon Willis. And its light is simple naturalistic appearance, textures exquisitely work. Create beautiful images without overloading or artifice.

What advice would you give to a person who begins in cinematography?

To shoot all you can, that is the best way to learn and evolve. Don’t lose hope and keep perseverance, it is hard but if you know where you’re going, come.

How do you think that will evolve the position of the cinematographer?

I think with the increasingly light and sensitive cameras. Our work will focus more on maintaining an aesthetic vision, the same essence as always. But I think we have to focus more control cameras and post-production processes. And with less light, even turn off lights.

What characteristics would you have asked If you could ask for a perfect spotlight?

Softness, power and lightness.





Leave a comment