When you grow up you don’t realize what is surrounding you. You look forward and get used to it. I was born in a simple, green, flat country where people spent most of their time complaining about the weather but huge artists made the most amazing light paintings and poetry. Then I moved with my family to Rome where architecture, painting, and history are behind every corner. Then we moved again. Paris, Venice; renaissance, baroque, impressionism, liberty, art nouveau are words that pinch you when you are children, but when you live in them they get into your DNA and then when you are lucky enough to grow-up in an artwork that becomes your principle passion, one day you’ll just realize that all of those arts are in your words, in your ideas, your heart and creating a cinematographic aspect from a director’s vision becomes something unique every single time.

SilverScreenbeat interview by Matt Casillas 

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 Cinematography, at its core, is the art of making motion pictures. But as an art form, it’s surprisingly more like dancing than photography; a fluid partnership as opposed to a static one-way creation. Each subtle movement, variation in lighting or change in coloring creates a ripple effect that alters the final product, so really, cinematography is like an eloquent retelling of Newton’s Third Law: every action has an equal reaction. It’s a process of precision.

That’s where Maxime Alexandre, the cinematographer on New Line Cinema and Warner Bros.’ Annabelle: Creation, comes into play. It’s his job not only to help capture the movie, but to tell a silent story entirely with visuals.

Observer interview by Brandon Katz 

Handling the cinematography in the horror genre is probably the must complete experience any director of photography could have. There is no other genre that gives you the opportunity to flirt with darkness and colors at the same time, to visually trap someone in an empty desert or a closet with the same cinematographic power, or to enhance the beauty of a house and than transform it into a nightmare again at the same time.

MovieMaker interview by Micheal  Gingold