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BEHIND THE CAMERA
JOURNEY
INTO
DARKNESS
ANINTERVIEW WITHANGUSHUDSON
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 39
s Angus Hudson tells it, he’s Astill enjoying the benefits of
the summer job he took back in 1981. The DP recently lit Cashback and soon after re-
united with director Sean Ellis to shoot a horror tale, The Brøken. But 27 years ago, he had just left school when he got a job at the commer- cials company Studio Lambert under industry veterans Roger Lam- bert and Patrick Hayes.
“This was a time when every- thing was in-house,” Hudson ex- plains. “We made two or three commercials a week, I was the runner there, so they sent me to work on the camera floor for six months. I learnt camera operating there, then I came back and worked as in-house loader.”
By the middle of the decade, the pop promo boom meant that clap- per loaders with 35mm experience were in demand for what were effec- tively big budget short films. He re- mained busy until in this field until theearly1990s,bywhichtimehe
had started to work on features, forging relationships that would last to the present day with more experi- enced cinematographers such as John Mathieson BSC.
“I’ve known John since he was a focus puller and I was a loader,” Hudson nods. “I loaded for him a bit, and later focus pulled on a lot of his commercials and music videos. He’s been a great influence on me in his shooting style and his approach to doing things.
“It’s really nice having someone like him who you can turn to for ad- vice. He was very supportive, and helped me on his UK films when he could. I was too junior to be dragged onto Gladiator, but he brought me onto Plunkett & Macleane, Trauma and Stoned.
“That gave me confidence, and you only realise when you actually start lighting that you should have paid more attention as a focus puller when you were working with all thesefantasticcinematographers. >