Reel Opinions – Margarita Velentza
Margarita Velentza on trusting her DOP-ing instincts
From Greece to the UK, director of photography of the FF Slate film Raja’s Had Enough, Margarita Velentza talks us through her journey into trusting herself and shares why she loves working with other women in the industry.
Hi Margarita! Let’s start with an easy one. How would you describe yourself to a stranger who you met on a park bench?
I am a Cinematographer based in London, born and raised in Athens, Greece. Growing up in a very sunny, colourful and loud country has shaped my visual storytelling approach and has cultivated an aptitude for observing light and capturing authentic moments.
From a very young age I wanted to be a Filmmaker, so in 2019 I graduated with honours from the BA course Film and Television Production in Cambridge School of Art-Anglia Ruskin University, and in 2022 I completed my MA degree in Filmmaking:Cinematography with distinction at Goldsmiths University of London.
I have had the fortune to be taught by incredible Filmmakers and to collaborate with creative people who allowed me to explore and advance my screen storytelling skills as a Director of Photography. I have worked mostly on music videos and narrative short films which have been distinguished in Film Festivals, winning awards including my Camera Skills Award at the Royal Television Society East Awards for On the Ropes (2019).
Talk us through your work to-date, what were the factors that influenced the look of your films and how did you express them?
I have been very fortunate with the short films I have worked on so far. Each one is very different, but they all have a common factor of strong female lead characters. Even though I believe that I have a certain style as a Cinematographer, I have had a unique visual approach for each one of my films.
I try to create a visual world that enhances the emotional state of the characters and I aim to underline the key themes of the narrative by using cinematic techniques. I attempt to support the storytelling by utilising blocking, lens perspective, composition, lighting, camera movement and colour contrast and for every film this is translated in a distinct way.
In all of my films, one element that I am not shying away from is colour. It could be a pink neon sign in a fantasy film or a green street lamp in a boxing drama, but they all aim to amplify the meaning of the scene on the main character’s emotional journey.
Talk us through your process - what’s the inspiration / perspiration ratio?
The Director of Photography role is equally creative and technical. For me it all starts with the script. While reading it I immediately get flashes of visual references from films, music videos, photography or paintings. I spend a lot of time researching the aesthetic approach, generating colour palettes and mood boards, and listening to music that makes me feel similarly to the script.
After long talks with the Director regarding our common visual viewpoint, during pre-production I start planning and envisioning how our ideas can be executed practically. Later while we test equipment and recce the locations, logistical obstacles usually alter our initial vision and we adapt and overcome the challenges.
For me, during production is truly where the magic happens. I have experienced shooting the most amazing sequences that were the result of adjusting to logistical difficulties. On set, the discipline and hard work of the camera department and their specialised skills play a very significant role. Before stepping on set, I have learned to be as prepared as possible and while filming I allow myself to deviate from the original plan. And of course, during the colour grading process, working closely with the Colourist, we get the opportunity to augment everything that we have captured.
In which ways have you matured as a DOP (if at all?!)
When I first started exploring the role of the Director of Photography as a BA student, my cinematic storytelling was mostly intuitive. While shooting both digitally and on film, I allowed myself to create aesthetically pleasing images that instinctively felt right and supported the narrative. Later when I did my Master’s in Cinematography, I started making more conscious and practical choices aiming to use screen storytelling principles. This allowed me to make more informed decisions and explore a variety of cinematic tools in order to amplify the meaning of the story using images. During this time, I have also been able to grow as a Head of the Department and figure out how to collaborate closely with the camera & lighting crew.
How do you feel when you finish work on a film?
After wrapping production on a project I usually have a mixture of feelings including overwhelming thoughts about the things that did not work out as planned and at the same time I feel creatively boosted and grateful to be able to make films. The best part after working on a film is seeing the excitement in my family’s eyes when they watch the final film.
Who or what is your inspiration? Has this changed?
Since I was young, I have been inspired by observing life around me. This could be a dog and their owner on the bus or people playing at the beach that can trigger my curiosity and creativity. I also find nature very inspiring. I enjoy paying close attention to atmospheric optical phenomena such as the belt of Venus and the interaction between light and water that can produce caustics, sun glitter and idyllic light beams underwater. Apart from that, I am obsessed with colour film photography, underwater photography and haute couture of the past.
Tell us about your favourite film festival experience ever.
I loved attending Manchester Film Festival 2023. Raja’s Had Enough was officially selected and screened among other amazing films, which was a great honour! This experience was truly a core memory for me since I got to walk on the red carpet with my team for the first time, and we got interviewed there too.
The most fun part, other than watching our short film on the big screen and hearing the audience’s reactions to the story, was the Q & A. The Director of the film and I joined the other filmmakers from the screening and we got to answer interesting questions. The environment was very friendly, filled with excitement and admiration for one another’s achievements. This gave us the opportunity to meet and connect with many filmmakers. Some of my friends who live in Manchester came to the screening to support us, which was very special too.
What piece of advice would you give your younger self?
The best piece of advice that I have for my younger self is to worry less and not to overthink everything. I have slowly realised that remaining true to yourself creatively and morally, being passionate about the craft, being hard-working, disciplined and treating others with respect and kindness will be acknowledged and appreciated in the end. I would also advise my younger and current self to be more patient!
What’s next on the horizon for you workwise?
I am currently in pre-production for a couple of short films. One of them is an experimental horror film that takes place inside a Greek Orthodox Church and I am also working towards shooting my passion project on my favourite beach in Greece.
And finally…How do you see your legacy?
Having worked with only female Directors so far on my filmmaking journey, and having received support from female colleagues and mentors, I want to spread a message of female empowerment in the industry. I really want to continue telling inspiring stories with strong female protagonists and to help create a much needed change on how females are perceived in front and behind the camera.
