Biografía

4 de octubre de 1971 · Horgen, Kanton Zürich, Suiza

Member of the Netherlands Society of Cinematographers (NSC), the Swedish Society of Cinematographers (Föreningen Sveriges Filmfotografer - FSF), and the American Society of Cinematographers (ASC) since 2016.

As of 2024, he has contributed with the cinematography of four films that were nominated for the Best Picture Oscar: El peleador (2010), Ella (2013), Dunkerque (2017) and Oppenheimer (2023), with the latter being a winner in the category.

Speaks Dutch, Swedish, Polish, and English.

[on Dunkerque (2017)] We played around with the IMAX cameras a lot with Interestelar (2014) as well, and it's undeniably the best and most visceral format. It's the biggest negative, so it will harvest light and spread it out over the biggest amount of celluloid, which ultimately gives it the highest resolution - but also, with the experience of depth and color rendition, there's nothing like it right now.

[on working with Christopher Nolan] Making films with him is real filmmaking to me. It's very hands-on and it's a lot of engineering, always. It's really switching your mind on to a very classic, visceral way of filmmaking. Nobody makes film like him. I think it's healthy for me as a cinematographer to try to sometimes do some different things in between projects, as well, so I don't expect people to be like him. Our relationship is unique, but there's a lot of opportunity, you know?

[on shooting Interestelar (2014) on IMAX] I have to say I love big format. I always loved medium format photography for instance. It's exposing a bigger negative. It's not only that the definition and color rendering is beautiful but also, it creates this very beautiful short depth of field. So it's the most pristine format you can have but at the same time it's so textured because of the way the lens is rendered on a negative that big. So getting the IMAX camera was very nice.

I have to say I love film above all. I have the most affinity with celluloid and I feel most comfortable shooting that. But the whole thing about film versus digital, I mean the biggest mistake with it is that it's always presented as film versus digital. I don't think that one thing rules out the other and I don't think that one thing is better than the other.