![]() From that point on, I switched to filmmaking.”įorshaw then studied cinematography at The National Film & Television School (NFTS), and at age 22 was among the younger ranks at the prestigious institution. I just loved it, telling stories in moving pictures. Halfway through that term, they handed us each a Bolex, 100ft of 16mm film, and told us to go out and make a film. “I went to college to be a stills photographer,” remembers Forshaw, “but had to sign up for a film course as part of a BA degree in film and photographic arts. She set up a dark room at home and spent much of her time there, revelling in the process of creating her own images from start to finish. She quickly got a job in order to buy her own camera and started taking pictures of the countryside where she lived. Henri Cartier-Bresson became her inspiration. At age 15, one of her older sisters bought a stills camera and Forshaw was immediately curious. In 2016, she was awarded for her body of work at The WIFTS Foundation International Visionary Awards.īut the moving image wasn’t what initially interested Forshaw. ![]() Forshaw shot Gavin Millar’s BAFTA-winning TV drama Housewife, 49 and received her own BAFTA nomination on Stephen Poliakoff’s Perfect Strangers. ![]() ![]() Her work includes the acclaimed series Tipping The Velvet, Vera, Shetland and Poldark, the latter of which she was nominated for at the RTS West Of England Awards two years in a row. “However, in the end it helped me to communicate ideas to directors, knowing that I had a really solid background in film theory and film history.”įorshaw has shot five features and has a distinguished and varied career in the world of television. She’s talking about film theory, a subject she’d originally shunned during her early days as a film student at Polytechnic Of Central London, (now University Of Westminster). Header image: © Stefan Falke / NFP “A shot isn’t just a shot,” says cinematographer Cinders Forshaw BSC over the phone from her home in Bristol. ![]()
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