Interview with the multi-talented filmmaker Steven Bernstein
Steven Bernstein is known for writing and directing the award-winning feature film Decoding Annie Parker. Bernstein began his film career as a cinematographer in the United Kingdom shooting award-winning commercials (winning among others the Cannes Golden Lion for a commercial). He went on to shoot many landmark films including the highly acclaimed Like Water For Chocolate and the Oscar-winning Monster. Steven was a 2013 nominee for The ASC Award for outstanding achievement in Cinematography for his work on Magic City.
Christos Arfanis: It is really an honor for me to interview the man behind the cinematography of films like Monster (with Charlize Theron, directed by Patty Jenkins) Scary Movie 2, The Waterboy (starring Adam Sandler) to name a few, and the director of Decoding Annie Parker (starring Samantha Morton). Having so many award winning and notable movies under your belt, I would like to ask you, is it harder to get started or to keep going in the film industry?
Steven Bernstein: It’s harder to start. There are so many people trying to get in the door, some telling the truth, some not telling the truth, it’s hard for the gatekeepers and employers to quickly recognize talent, even when it is there. Once you are in there are different problems. Everyone wants to label you. “The comedy guy” or the “indie guy” or whatever. Of course as artists we are constantly evolving and can’t easily be defined by our past work. I mean, my God I did Monster, which won an Oscar, and White Chicks, which is a comedy which people love. So which person am I? I am of course both. The trick is to never let yourself be defined.
Christos Arfanis: How technology has shaped filmmaking? What things used to be better in the past?
Steven Bernstein: I think the biggest change actually happened some time ago, the change in the cutting room. Editing digitally allows for so much creative risk taking without consequence that it’s revolutionized not only the practice but the whole creative process. The change to digital camera’s has also changed things, but not always positively. Just letting a digital camera run all the time and having lots of unlabeled takes just engenders chaos. We still need discipline and order on set, good record keeping, even with the ease of use of the digital camera. You know what else? The 35mm film image is still better than digital. If quality matters, and it surely does, more of us should be shooting film.
Christos Arfanis: What was the most important lesson you had to learn during your career that has had a positive effect on you?
Steven Bernstein: Sometimes you can do the right thing and that will make you unpopular. There are a lot of agendas on a film and a lot of people pulling you in the wrong direction. It is seductive. We want to be approved, we want to be rewarded. But ultimately we have to have a bigger vision and do what is best for the film creatively. That takes courage and toughness. The rewards don’t come to latter, but they will come if you maintain creative integrity. It’s hard.
Christos Arfanis: What films have been the most inspiring to you?
Steven Bernstein: Last year, JoJo Rabbit. This year Palm Springs, all time Lawrence of Arabia, Blade Runner, Seven Samurai, The Third man, Enter the Void many, many more
Christos Arfanis: What advice would you give to someone who wants to become a filmmaker?
Steven Bernstein: Take risks, don’t quit, don’t quit, there really are no rules. Particularly about screenwriting. All the rules that people teach are just, flat out, wrong.
Christos Arfanis: Your feature film, Last Call starring John Malkovich and Rodrigo Santoro among others, is slated for a 2021 release. What can you tell us about it?
Steven Bernstein: It’s a mad, wild ride about a poet, Dylan Thomas, bent on self destruction and engaging in every indulgence known. He was the first rock star, before there were Rock Stars. People would be fainting just in seeing him and hearing him read. Screaming at the end of every stanza. But its also about something much bigger; trying to find meaning. All the easy seductions don’t give us much of anything at all. He seduced the world, but it wasn’t enough, or it wasn’t anything at all.
Thank you for your time Steven and we wish you the best with your future plans!
