Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery – celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from – it’s where you take them to.
As with most people, I have always loved watching movies. My true love affair with the cinema began when I was fifteen. I saw a movie called ‘Medea’ at a film club in a small art house cinema. This 1969 classic film by Pier Paolo Passolini intrigued me with its convoluted plot, psychedelic music and minimal dialogue. To be perfectly honest, I didn’t understood much of the movie, but its dark and weird nature was enough to spark my interest and inspired me to dig deeper. I soon rejoiced in the works of directors like Jean Luc Godard, Francois Truffaut, Bernardo Bertolucci and Federico Fellini. In a way non-conformism of the Nouvelle Vague and the European Arthouse directors fitted well with my rebellious nature in my teenage years. I also found much needed serenity and escape in the empty-ish movie theatres.
Since my adolescence, my love for films never ceased but our relationship kept evolving. More recently I started focusing my attention on cinematography. The work of cinematographers has a huge influence on my photography. I constantly steal their light, composition, angles and sequencing. Here are few of my old and recent favourites:
The Tree of Life, cinematography by Emmanuel Lubezki









Lost in Translation, cinematography by Lance Acord












The Man Without a Past, cinematography by Timo Salminen












Twin Peaks, cinematography by Frank Byers









Nymphomaniac, cinematography by Manuel Alberto Claro









Under the skin, cinematography by Daniel Landin










Ida, cinematography by Ryszard Lenczewski & Łukasz Żal













I'm not going to even attempt to single out any of Robert D. Yeoman's breathtaking work - the cinematographer behind most of Wes Anderson's films.
So while modern cinematography is thriving, how does the wedding industry compare? I guess there is even more stigma attached to wedding videos than there is to photography. Cringeworthy staged poses, awful soundtrack and 4-hour long boredom feasts spring to mind. Thankfully, although those associations might still be quite vivid in our memories, the future is hopeful. So today I want to present you with the work of four adorable gentlemen who have been pushing boundaries of what wedding cinematography could and should be. I will start with some local talent and then move onto the rest of the world.
Disclaimer: This list is completely subjective and may or may not have been created under the influence of personal charm and obvious bribery.
Roldolphe / Best Day Productions - Half romantic, half sceptic with an eye as sharp as a knife.
Michael / Story of Eve - All you need is love, love is all you need.
Brian & the team / Shark Pig - If this guy fails to make you smile, I don’t know what would.
Tim / Velare TV - Your video will probably get an Oscar nomination.
I hope this helped you a little bit with your wedding homework and if you haven't had enough of my movie stills, you can view some more on my Pinterest board.