For Playback’s Report on Cinematography, we aimed two simple questions at three of Canada’s top directors of photography: what film has been the biggest influence on their work, and what is their favorite Canadian film from a visual point of view?

The three cinematographers we approached have amassed a sizable amount of hardware among them. Montreal’s Pierre Gill (Hitler: The Rise of Evil, Lost and Delirious) has won four Canadian Society of Cinematographers awards, as well as a Genie, a Jutra and a Gemeaux. Toronto’s Rene Ohashi (They, The Crossing) has collected two CSC Awards, a pair of Geminis and an American Society of Cinematography Award. Finally, Vancouver’s Gregory Middleton (Punch, Between Strangers) has two CSC Awards and a Leo to his name.

What is fascinating about their responses is how diverse their selections are, as well as where they intersect. So, without further ado…

Biggest influence:

Gregory Middleton

‘I was quite young when I first saw Lawrence of Arabia, directed by David Lean and lit by Freddie Young, and I can remember it being one of the first times that I became aware of composition, lighting, art direction and camera movement in filmmaking. It marked the beginning of my exploration of cinematic language and all its tools in storytelling. Lawrence of Arabia is still a benchmark today in its visual discipline and simplicity. There is a lot of noise out there today, yet great, simple filmmaking still stands out.’

Favorite Canadian film visually:

‘My favorite Canadian film from a visual point of view is The Sweet Hereafter, directed by Atom Egoyan with cinematography by Paul Sarossy. The film is quiet and natural yet fraught with tension. There isn’t a frame wrong in it.’

Rene Ohashi

Biggest influence:

‘A landmark film of the nineties for me is David Fincher’s Se7en, lit by Darius Khondji. It is visually innovative and stunning, always intriguing, evocative, totally surprising and distinctive in its images.

Khondji’s cinematography in Se7en also illustrates and encompasses one of my personal photographic approaches: it is not always what one lights to see and capture images on film that is all-important; what can be even more appropriate is what one doesn’t see.’

Favorite Canadian film visually:

‘From a visual point of view, David Cronenberg’s Naked Lunch is one of my favorite Canadian films. The film, lit by Peter Suschitzky, recreates the stylistic, dark, brooding, complex, imaginative world of writer William Burroughs – his madness and perversion. The images are better than one can imagine, and the director’s visual world is brought out and enhanced through art direction and cinematography. Although not a film about the book but rather a treatment of Burroughs’ life, the film achieves its own merit and becomes a work of art.’

Pierre Gill

Biggest influence:

‘Many films have influenced me on different levels, but if I have to choose one, it would be Se7en, directed by David Fincher and lit by Darius Khondji. Khondji is a master of light and the lighting in this film is brilliant. Khondji achieves the look of a film noir but in color. The scenes are really dark, yet you see and feel everything you need to. The color palette, the contrast, the ‘dirtiness’ of the light also creates a mood that suits the story perfectly. It is a very controlled film from beginning to end and truly a pleasure for my eyes.’

Favorite Canadian film visually:

‘My favorite Canadian film from a visual point of view is Leolo, directed by Jean-Claude Lauzon and lit by Guy Dufaux. The cinematography perfectly suits the storytelling. The lighting is sensitive and discreet as it follows the characters’ state of mind. The lighting also brings the sets to life and carries us into Lauzon’s torn world.’