Meet Vicky Rattanavipapong | Cinematographer

We had the good fortune of connecting with Vicky Rattanavipapong and we’ve shared our conversation below.

Hi Vicky, how do you think about risk?

Every project I decide to work on has an element of risk. That’s just the nature of the film industry. When I’m deciding on a project, I’m always thinking about how much I believe in the script, the director, the producers. Deciding to work with people on the endeavor of bringing a movie to life is inherently a risk. We never fully know what the movie will be, only what it can be, and putting trust in one another to work towards this vision of what it can be always carries risk. Then, when I’m actually working on a project, there’s always going to be moments where an idea feels too ambitious because I feel like we don’t have enough time, or money, or manpower, and we have to push through. Every day, we use our skills, experience, creativity and connection to deal with these challenges.

Aside from looking at the risks, when I begin a project, I also follow my instincts as an artist.  When a script speaks to me in some way, or I connect with something personal in myself, I know to follow that. Why do I want to make this movie? What am I trying to say, metaphorically? How can each scene relate back to that, somehow? That’s what art is about, following those gut feelings and believing in the power of good story. When I do that, it almost makes the riskiness of a project more exciting because I know what the movie is capable of making an audience feel. It’s that feeling that led me to the project in the first place.

I mitigate the negative aspects of risk through systematic preparation. For instance, in my collaboration with the NYWIFT director’s Kayla Sun for The Code of Family, the look of the film was a priority. We wanted to emulate Wong Kar Wai, who is famous for his visual style. Wong Kar Wai famously shoots on film; we couldn’t afford to shoot on film, so we had to develop a LUT that would transform the digital footage into a film look. That took several attempts at experimentation on DaVinci Resolve before we got where we wanted to be, a high contrast saturated film look.

That’s the behind the scene work that no one will see in the final movie, but I found the process most satisfying. The film ended up being on a shortlist for a BAFTA and won Jury Prize award at Annapolis Film Festival and USA Film Festival, which is a result I’m proud of for what started out as a family drama about a Chinese grandmother, which typically isn’t subject matter people get hyped up for.

Alright, so let’s move onto what keeps you busy professionally?

I am a cinematographer based in LA. I gravitate towards stories about people from underrepresented communities. I especially like working on projects that focus on types of people we don’t usually see as main characters. I like to get funky and play with different lighting to achieve a stylized look and design thoughtful visual language. I have a range of experience in cinematography from animation to live action and from commercial to narrative. My previous works include Asics ads, Instant Noodle, Code of Family, Mantis Club and Tala’s Bedtime Story.

I think me being from Thailand sets me apart from my peers. Thailand is a small country; most Asian filmmakers are from Korea, China and Japan— at least who I have met in America. In an industry where we’re all trying to sell our individuality, coming from that culture adds to what makes me unique as an artist. At the same time, my professional goal is to become an artist of international acclaim. The best art comes from a specific point of view, but it touches universally. I want my work to return to Thailand from the international stage. I hope to take my family to the local cinema in Thailand to watch my film and enjoy the theater experience together.

There are a few feature projects I am preparing at the moment. I am the lead cinematographer for Finley 2, which is set to shoot next year.

Let’s say your best friend was visiting the area and you wanted to show them the best time ever. Where would you take them? Give us a little itinerary – say it was a week long trip, where would you eat, drink, visit, hang out, etc.

LA has many unique landscapes ranging from beach, mountain, desert and city. Maybe something like this:

Monday. Adventure at Santa Monica, Venice and Malibu coast line. I would take them to Santa Monica Pier, 3rd street for shopping, plenty of places to eat and sightseeing.
Tuesday: Shopping in the city. I would take them to Beverly Hills, Rodeo Drive, Century City mall. Cafe chilling at Republique. Maybe explore Hollywood nightlife.
Wednesday: Museum during the day in The Broad in downtown. Chinese theater Walk of fame. Thai and Korean town for lunch. Explore Los Feliz, maybe Griffith Observatory at night.
Thursday: Amusement Park day. Universal Studio, Six flags, Knott’s Scary Farm or Disneyland.
Friday: Adventure in the desert. I will take them to Palmdale or Joshua Tree. Show them a few national parks as we drive pass. Show them outlet mall and local diner.
Sat-Sun: I would take them on a trip to Lake Arrowhead. Hiking and skiing.

Who else deserves some credit and recognition?

I’m dedicating my shoutout to my parents for their unwavering support, my mentor Kenneth Zunder ASC, my best friends Kayla Sun, Michelle Sastraatmadja, Sergio Ortiz and my boyfriend, Nick Powell. I am also grateful for all the collaborators and friends I’ve met during my time living in Los Angeles. Also, thank you Shoutout LA for showcasing my story.

Website: https://vicky-rattan.com

Image Credits
Michelle S