Page 12 - Young DPs

JEANPAUL(J.P.)SERESIN
BORN: 28 JUNE 1968, LONDON
My first film memory was being shown the old Oliver set as a five or six year old by my father.
I started as a studio runner at Lee Stu- dios in Wembley before spending some time as a trainee ‘spark’ in the Lee Lighting stores at Wembley. I finished my A levels success- fully and then moved to Paris where I worked as a PA for Franco American Paris. Two years later I moved back to London, working on the camera floor at VFC, which is now called One8Six.
What was your favourite job
to date and any unusual anecdotes
whilst working?
As a cinematographer my favourite job to date is the recent R.A.F. commercial directed by Vaughn Arnell. This is due to many factors but basically the reason was that a decision needed to be taken, which I had to make. I didn’t know the result of my action until rushes were viewed two days later. Fortunately the agency and the director were over the moon.
Who were the most influential
people in your career to date,
i.e. cinematographer, director, etc.?
The people who have influenced me substantially have been without a doubt my father, who in my view is still one of the finest DPs in the world, along with his loyal gaffer, Peter Bloor.
Apart from these two people directly, there are the obvious influences ie Roger Deakins, an amazing DP, James Wong Howe, another amazing DP who’s work I still admire today, and Conrad Hall: again what can be said about this cinemagraphic genius from Butch Cassidy to Road to Perdition - just beautiful images. I have also been influenced by certain stills photographers - Kertesz Brassai and Bill Brandt to name but two.
What are your current and
future projects?
RAF, Alton Towers and the Kano
shoot, all with Fujifilm, and Sam- ” sung, Dubai Creek and O2 later.
How did you get into
this industry, any family “connections?
My father is Michael Seresin BSC
and uncle is Ben Seresin, both are cinematographers. This ultimately gave me a very privileged insight into the industry.
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