FILMS IN MOTION: DIRECTOR OF PHOTOGRAPHY GABRIEL DE LA CRUZ

“Have you ever have met someone unique with a true gift to contribute to the World? It’s intoxicating. You love the way you feel around these talented human beings. Gabriel de la Cruz is one of those gifted souls.”

 When I first met Gabriel in the Summer of 2022 , he was interested in working together on a script I had written. I admired how willing he was to put himself out there and collaborate with someone he had recently met.

 What separates Gabriel from the superficiality of the celebrity culture that permeates Hollywood is that he’s honest, generous, and talented.  He’s unlike a majority of people I have encountered in LA. Gabriel is special, and I have no doubt in my mind he will one day film his masterpiece and manifest destiny.

Terrence Sanders-Smith:  What separates your visual aesthetic from all the other up and coming and or working DP’s in the film industry?

 Gabriel de la Cruz: I want to thank you for this opportunity. I’m humbled and honored to be a part of this amazing magazine.

It’s hard for me to say what separates my visual aesthetic from my colleagues. Nevertheless, I believe no one can imitate anyone precisely, no matter how hard they try. There is always a footprint we leave in our creations and that footprint is loaded with the experiences of life.

I was born and raised in the Dominican Republic, a land of beauty, chaos, humbleness, corruption, abundance, and poverty. Those characteristics coupled with my personal journey shape who I am artistically. Part of my visual aesthetic is a small representation of my upbringing and the way I viewed life, the other part comes from observations and learning from my mentors and the master filmmakers, either working next to them or watching their amazing films.

 TSS: To get a feel for your palette can you mention a few films and or DPs that have influenced you?

 GDLC: Yes! So many DP’s have influenced me. I’ll mention 5 who resonate at this juncture in my life. The ones that perfect the union between storytelling and cinematography, who are honest and honor the story but exquisite in the image making field

DP’s: Emmanuel “Chivo” Lubezki (The Revenant, Birdman, Gravity, Children of Men), Hoyte van Hoytema (Interstellar, Oppenheimer, Ad Astra), Roger Deakins (Blade Runner: 2024, No Country for Old Men, 1917, Sicario), Greig Fraser (Lion, Dune, The Batman).

 Films: Fallen Angels By Wong Kar-Wai, Interstellar by Christopher Nolan, The Revenant by Alejandro González Iñárritu, Y tu mamá también by Alfonso Quaron, Blade Runner: 2024 By Denis Villeneuve and The Matrix by Wachowski Siblings.

 TSS: What do you look for in a script, and director? Are you selective on who you work with?

 GDLC: I try to find myself in the script, how I can add a visual dialogue and complement the story. I’m not selective on who I work with, at least not at this point in my career. If I’m fortunate, in the future, I would love to work on stories that resonate and align with my vision and purpose.

 TSS: What are the toughest obstacles you face as a young and inspiring DP?

 GDLC: Probably how oversaturated and competitive the industry is, especially in the US. There are some positions in the industry that are much harder than others because they involve having talent, creativity and the ability to bring the concept to fruition and make it tangible. Directors, Writers, and DPs fall into this category. Because they are so attached to artistry, the decisions of who will be a part of any project will not only be related to your ability to create art but the aesthetic or creative input you can provide to that specific project. The difficulty is the system to be hired or selected is based on how in tune you are with the networking environment. Of course your skill set and competence is important, but when your networking ability isn’t as great as your art form it can make all the difference. Arguably, you were more qualified for the job but someone who was better connected secured the position. Those of us who can thrive in these elements will survive and succeed.

 TSS: Do you want to make films to entertain, or educate an audience? Do you want to be the catalyst for change or the continuation of the dumbing down society?

 GDLC: Definitely to educate an audience. That’s my purpose in this lifetime. I want to use my platform to educate, question and communicate narratives that I believe are deserving. I want to illuminate the human mind, to experience the possibility of oneness and empathy.

 TSS: I noticed in your films and photographs, your use of color and natural light. Your images are haunting and mysterious. I’m drawn into the narrative. How did you learn to combine the two elements so flawlessly?

 GDLC: That duality is related to my observation of how light interacts in the world, in conjunction with the human experience. I'm fortunate to understand my calling, passion, and purpose is to create images. For me, it’s utilizing my eyes strategically and seeing my environment and subject matter differently. I have always been conscious of my surroundings and how everyone and everything is connected. To observe life in layers, in detail, and to appreciate the visual structure of it, especially when we articulating compositions of light and darkness. Most importantly, an image whether it’s a still or in-motion can communicate or provoke emotions in whoever has the chance to experience it.

 TSS: Of all the vocations you could have chosen to make your mark on the World and support your livelihood you choose filmmaking. Is there a plan b if this choice doesn’t pan out? You’re 32 years young. Is there a cutoff point or are you in it to the end of life?

 GDLC: No plan B at all. Film is my everything, the craft that fulfills my purpose in life, my contribution to the world.

 TSS: Did you go to school for filmmaking? How did you learn your craft?

 GDLC: I didn't go to school for filmmaking, I went to school for Sound Engineering in Argentina. My degree and inclination was for music production and nothing related to Film. When I graduated I came back to my country to pursue a career in music. I soon realized it was really hard to work in the music industry but the film industry was fertile and needed capable technicians in all fields. That led me to working on post production sound for movies. I had a desire to be on the set so I began working as a boom operator and sound assistant. That opened the door for me in a big way. I now had a front seat experience to amazing professional sets, coupled with top tier filmmakers who came from all over the world. Nevertheless, even though I was good at making sound , there was always that voice inside me telling me that I was not fulfilling my purpose. The life changing moment was when I shot my first roll of 35mm. When I had the film developed and I looked at the images I knew who I was and what I was meant to do. My life was forever changed. Those film exposures awakened my potential to compose and create images. From there it was all about educating myself to learn the vast array of techniques to create the imagery that lives in my conscious, subconscious and unconscious.

 TSS: Why not make films in the Dominican Republic? Why chase the dream of making films in the United States where the field is oversaturated?

 GDLC: I can definitely chase the path of making movies back home. The industry there is supportive and accessible. Due to recent film laws passed we have one of the most amazing, and active film industries in the world. I’m so grateful for the growth and how big the film industry is getting in DR. It shaped me into the filmmaker I am today.

But there is something that has always attracted me to be here. It’s the competitive nature of film in the US, only the best in the world work here. To be in the company of greatness will elevate my craft and if utilized correctly I will reach my full potential. I really want to be the best, that I can possibly be. I understand being around people that are more developed, and in a better place professionally than you, is the fuel needed to push you to be better, especially within yourself. This is where I need to be.

 TSS: If you had an audience of up and coming and established directors to give you 60 seconds to convince them why they should take a chance on you, what would you say to them?

 GDLC: Creating the perfect image is instrumental, delicate and vast. It’s all about the work, and the end result. To fully realize what the writer and director wanted to communicate to the audience.

 TSS: I value our friendship and look forward to your contributions to art and film.

 GDLC: Thank you, and it was a pleasure to spend some quality time with you. Until next time brother.