Samantha Morton

Samantha Morton in London

Commissioned by The Guardian

Jason and Ivan Reitman

It’s not every day you get a call to ask if I’m interested in photographing the creators behind Ghostbusters: “We’ve got a shoot with the Jason and Ivan Reitman - and they’re bringing the ghostbuster car and a couple of Proton Packs.”  I know - it might not mean much to many of you, but if you grew up in the 80’s you’ll know all about the Ghostbusters, the Cadillac and the Proton Packs.  Ghostbusters 2, also directed by the original director Ivan Reitman came out not long ago, but this 3rd film was directed by Ivan’s son Jason.  So - there I was, in the backstreets of Soho with a couple of Proton Packs, (ghost busting guns for you who are not familiar with the films) in a hotel room and the Ghostbusters car in a small alleyway on the side of the hotel.  I picked the alleyway because of its proximity to the hotel but also because it had a city vibe - without giving away what city it was.  The first thing we found in the alleyway was a dead rat without a head.  Nothing like a headless rat to set the scene for a Ghostbusting experience.  (I did decide on cleaning this up before inviting the Reitmans over though - maybe a little too real for a Friday morning?!).  I managed to get a local office to open its doors for me to get some electricity to start up the smoke machine, brought out some gels and then prepped the car for the Reitmans to cruise on into the shot.  

Ivan and Jason turned up and I was ready.  I placed them in the car and shouted “smoke!”  No smoke came - and a look of panic spread along the photography team.  The woman who had let us use the electricity socket had unplugged the smoke machine without letting us know and left the building.  I started shooting whilst the assistants knocked on every door until they found a socket.  The images I had hoped for were now finally coming in.  

10 minutes later we had to rush up to the hotel room to get the Proton Packs shots.  I had prepped the proton Packs with lights and was ready to explore with long shutter speeds to get the laser beams working.  Consistency and authenticity was of great importance for Jason but we got there in the end. 10 minutes later, all ghosts were busted and the Reitmans could leave the building.  Phewwww.  All I now had to do was to pack my equipment down and dispose fo 15 ghosts stuck in my Ghostbuster trap and safely dispose of them in the Echo-Containment System.  The problem is I’m not sure where the Echo-Containment System is so I’ll keep them under my bed for now….

Shot for G2  

Simon Amstell

This shoot with Simon Amstell was to promote his directorial debut film Benjamin.  The film that hit the screens in 2019 and was met with critical acclaim.  

Simon will always be my favourite presenter of Never Mind the Buzzcocks, but that is now a long time ago and something for the history books.  Since then Simon has directed, done more stand up comedy, co-written Grandma’s House and a mockumentary set in a vegan  future.  The latter is a subject Simon cares a lot about, being a vegan himself.

I remember the first time I shot Simon, I expected him to be unforgiving in his comments and replies.  I was prepared for a bombardment of smart ironic comments and humorous observations for which I would be dumbstruck.  However, I met a kind and modest man.  This time was no different.  Simon complemented me on the previous shoot we did together, not just a comment he says to everyone I think, as he clearly remembered it and the images that resulted from that shoot.  

We discussed the ideas I had come up with in collaboration with the Observer Magazine.  A couple of the ideas didn’t quite seem to appeal to Simon, so I used the first half of the shoot to photograph what we had agreed on whilst think of new ideas.  As the shoot was to be the cover for the Observer Magazine’s fashion issue, it was important that the clothes were a main feature and helped create the mood.  At the same time we wanted a little humour with his stylish look.  It then struck me that photographing Simon as if he was naked, and the clothes were folded up, would give the image an element of comedy whilst focusing on the clothes too.  It would be a different look from any fashion shoot I can recall.  The venue had the perfect place to execute this without exposing Simon fully, Simon loved it and a fashion cover unlike any other was made.

I have great respect for Simon and what he has achieved.  His comedy is excellent and he only uses his sharp wit against people whom put themselves out for receiving it and can take it.   Simon has also a good sensitivity and moral compass that we could all learn from. 

Shot for The Observer Magazine

Tristram Hunt

The Ex-politician Tristram Hunt is now the director of Victoria and Albert Museum. Having moved from a world of telling people what they want to hear, he has now moved into a world of showing people what they want to see, and judging from the new extension of the Victoria and Albert Museum, (where this shoot mainly took place,) he’s already got something great to show us.

The V&A Museum has always been one of the outstanding British museums. It is one of the ‘must see’ museums, the largest museum of decorative arts and design in the world and it’s just gotten bigger. Not only is there the extension you see at the main museum in Knightsbridge, but it also the Childhood museum in Bethnal Green and will soon open a new section.

Tristram turned up in a suit and tie, still looking more like a politician than a director of artworks. He hasn’t yet swapped the suit jacket with a tank top jumper, the blue/grey tie with a knitted yellow one and the suit trousers with some brown cords. When I asked Tristram if he could take jacket and tie off he replied “It’s the only thing that gives me some authority”.

No doubt that Tristram is facing a mammoth task in the museum world, but what an honour. And from what I can gather, he’s got the likability factor, he’s got the brains and with connections in the political world too so I'm sure he's going to turn the V&A into a roaring success.

Shot for The Observer New Review

Sofia Coppola

One of my favourite films this Millennia was “Lost in Translation”. Not only is it a film that can quietly build up ones anticipation, but it can feel painstakingly true. In fact, I felt very much like I was a part of a very similar photoshoot as the one that was portrayed in the film the other day: “Celebrity, from a different country, possibly jet lagged, didn't want to be there and was promoting a brand of spirits”. (Those of you who want to know more will have to supply me with a few drinks one night.)

However, the director of that film, Sofia Coppola, has now come out with another film, and everybody is nodding their heads again. A departure from the silent flow of Lost in Translation but still, contains the same cinematic beauty. ‘The Beguiled’, looks to be a film that will keep you at the edge of your seat.

Sofia entered the room at Claridge’s with a gentle, soft flow. Well composed and obviously used to the relentless tempo of a press junket. Her gentle and well composed nature made it hard to imagine her directing a large team needed for making a film. However, maybe it is exactly this calm and gentle approach that is the secret behind the well composed films that she makes. Whatever it is, it works on the big screen and it works on a photo shoot.

Matt Damon and Paul Greengrass

Matt Damon and Paul Greengrass - what a team! They’ve worked together to create the majority of the hugely successful Jason Bourne films. Paul Greengrass was also the director behind the very impressive film ‘Bloody Sunday’, which I have only just seen and been blown away by. Matt Damon’s accomplishments are too numerous to mention and also useless to list, as we are all aware of his talent. But in case you don’t know much about his sex life then you may want to watch this clip with Sarah Silverman, (from 2.15 minutes in if you don’t want to watch the whole thing - https://www.youtube.com/watch?v=eSfoF6MhgLA)

I have to say both Matt and Paul came across as really nice guys. Guys that liked a bit of banter. Paul Greengrass, also allowed for the shoot to exceed the 15 minutes in a hotel room, by a couple of minutes as the PR had given the ‘wrap it up’ queue. Now, that doesn’t happen a lot!

The new Bourne film is out and I for one will be looking forward to the action packed 90 minutes of big screen entertainment.

John Akomfrah

John Akomfrah was once described by the Guardian as someone who “has secured a reputation as one of the UK’s most pioneering film-makers [whose] poetic works have grappled with race, identity and post-colonial attitudes for over three decades.” Now that’s a quote I’d have framed in on my toilet wall. (Toilets and toilet walls are after all where all awards and diplomas hang.) Akomfrah was one of the founders of the Black Audio Film Collective. A group dedicated to issues around Black identity in Britain. Akomfrah later co-founded Black Dog Films and has been the governor for British Film Institute and Film London. His work has won awards and he has been instrumental in giving black identity a voice in Britain through film and art. His work can now be seen at the Lisson Gallery in London.

I met up with a ‘slightly under the weather’ Akomfrah at Black Dog Films’ offices in Hackney where he was finalising his latest work for exhibition. His most recent work is ‘the sublime seas’. “Fusing archival material, readings from classical sources and newly shot footage, Akomfrah’s piece focuses on the disorder and cruelty of the whaling industry and juxtaposes it with scenes of many generations of migrants making epic crossings of the ocean for a better life. Shot on the island of Skye, the Faroe Islands and the Northern regions of Norway.” That’s a lot of time hanging out up North - no wonder he had a cold when I met him….(sorry!)

Paul Thomas Anderson

One of my current favourite directors is probably Paul Thomas Anderson. His films have a style, coolness and humour that is hard to combine with a strong story line. Paul however, manages it. The shoot with Paul was a 10 min job at Soho Hotel and he suffered from jet-lag (mixed with a little hangover from the night before). Not many people can carry off that look without one hour of hair and makeup but Paul did. It gave his slightly ruffled look an extra dimension which suited him well. The tired rub of his eye even looked good in a shot.

His new film ‘Inherent Vice’, looks to be a classic Paul Thomas Anderson film and I can’t wait to see it. Never before has anyone been given the permission to dramatise a Thomas Pynchon book before now and that in itself is a testament to Paul’s creative vision and execution.